Compiled by Azizi Powell
Overall Statistics
A total of 1793 posts have been published on pancocojams since I launched this voluntary blog on August 29, 2011.
In 2015 I published 386 pancocojams posts, including this post.
To date, pancocojams has had a total of 2,832,469 viewer hits.
****
List Added December 27, 2015 2:43 PM EST:
Top Ten Nations Worldwide (based on viewing statistics from August 29, 2011 to December 27, 2015 2:35 PM EST)
1. United States [1,834,205]
2. United Kingdom [126,356]
3. Canada [66,536]
4. France [55,626]
5. Germany [54,562]
6. Ukraine [32,198]
7. Australia [30,335]
8. Russia [27,551]
9. Kenya [19,157]
10. Netherlands [18,512]
****
The Ten Most Often Viewed Posts (August 29, 2011- December 27, 2015, 8:30 AM EST)
Here’s a list (with hyperlinks) of the all time top ten pancocojams posts since this blog began in August 2011 (based on viewer hits). [Viewer hits do not include my views.]
Notice that #1, #5, and #8 on this list were published in 2015.
1. What "Hit The Quan" REALLY Means, Aug 1, 2015 [238,404]
http://pancocojams.blogspot.com/2015/08/what-hit-quan-really-means.html
2. How "Bye Felicia" Became A Popular Catchphrase, May 16, 2014 [41,201]
http://pancocojams.blogspot.com/2014/05/how-bye-felicia-became-popular.html
3. The Origins And Meanings Of "Shante You Stay" & "Sashay Away”, Apr 8, 2014 [24,250]
http://pancocojams.blogspot.com/2014/04/the-origins-and-meanings-of-shante-you.html
4. The Right Rhyming Pattern For Shabooya Roll Call, Jan 30, 2012 [22,868]
http://pancocojams.blogspot.com/2012/01/right-rhyming-pattern-for-shabooya-roll.html
5. Muddy Waters - "Mannish Boys" (information, sound file, video, & lyrics], Jul 29, 2015 [17,261]
http://pancocojams.blogspot.com/2015/07/muddy-waters-mannish-boys-information.html
6. Stand Battles & The Changing Meaning Of "Majorette", Apr 11, 2014 [14,862]
http://pancocojams.blogspot.com/2014/04/stand-battles-changing-meaning-of.html
7. The History & Meaning Of The Red, Black, And Green Flag, Jan 21, 2014 [12,171]
http://pancocojams.blogspot.com/2014/01/the-history-meaning-of-red-black-and.html
8. Stilt Walking In Africa (information, comments, & examples), Nov 1, 2015 [11,098]
http://pancocojams.blogspot.com/2015/11/stilt-walking-in-africa-information.html
9. Che Che Kule - Origin, Lyrics, & Videos, Mar 12, 2012 [8,120]
http://pancocojams.blogspot.com/2012/03/che-che-kule-origin-lyrics-videos.html
10. Kumbaya Lyrics (As Sung By The Soweto Gospel Choir], Jan 21, 2012 [7,661]
http://pancocojams.blogspot.com/2012/01/kumbaya-lyrics-as-sung-by-soweto-gospel.html
****
Here’s a list (with hyperlinks) of the top ten pancocojams posts that were published in 2015 (based on viewer hits).
One video from each of the top six posts is also included with that post's title & hyperlink.
1. What "Hit The Quan" REALLY Means, August 1, 2015 [238,404]
http://pancocojams.blogspot.com/2015/08/what-hit-quan-really-means.html
iHeart Memphis - Hit The Quan Dance #HitTheQuan #HitTheQuanChallenge King Imprint
King Imprint Published on Jul 15, 2015
****
2. Muddy Waters - "Mannish Boys" (information, sound file, video, and lyrics) [17,261]
http://pancocojams.blogspot.com/2015/07/muddy-waters-mannish-boys-information.html
Muddy Waters plays "Manish Boy"
GtrWorkShp Uploaded, on Nov 16, 2007
In this clip from a 1971 performance, Muddy Waters and his band perform "Manish Boy." From the DVD "Muddy Waters In Concert 1971" produced by TopCat Records. More info at http://www.guitarvideos.com/products
****
3. Stilt Walking In Africa (information, comments, & videos) November 1, 2015 (11,098)
http://pancocojams.blogspot.com/2015/11/stilt-walking-in-africa-information.html
Mali - Dogon's Dances
Carlo Di Marco, Published on Apr 7, 2012
The Dogon's dances represent their history. The masks depict the system in the world: animals, men and things, too. In the dance they are an important element and the Dogon use more than 80 masks, depending on the celebration.
****
4. Mickey Mouse Clubhouse's "Hot Dog (Hot Diggity Dog)" Song - Its Lyrics & Its Cultural Influences, March 2, 2015 [5,386]
http://pancocojams.blogspot.com/2015/03/mickey-mouses-hot-dog-hot-diggity-dog.html
Mickey Mouse Clubhouse - 'Hot Dog Dance' - Disney Official
DisneyJuniorUK Published on Sep 12, 2012
-snip-
I believe that this "Hot Dog" dance is another name for the African American originated "Hootchie Kootchie Dance" ("Shimmy Dance") that Minney Mouse does in Mickey Mouse's first cartoon "The Karnival Kid"...
****
5. Homophobia In Discussion Thread Comments of Three YouTube Hip Hop Dance Compilations, August 2, 2015 [4,821]
http://pancocojams.blogspot.com/2015/08/homophobia-in-discussion-thread.html
-snip-
The video for this post is given in #1 of this list. Therefore, a video that was published in the #6 top video is given below. (Usually this lists only features a video from the top five posts of that year.)
****
6. "Rosie" (African American Prison Work Song) with lyrics, information, & comments) May 8, 2015 [4,549]
http://pancocojams.blogspot.com/2015/05/rosie-african-american-prison-work-song.html
Negro Prison Songs / "Rosie" 1947 [RARE]
monQsurlaKomod, Uploaded on Aug 8, 2008
..recorded at Mississippi State Penitentiary at Parchman in 1947..
..taken from italian version'wax L.P. from 1977 ALBATROS Records..
****
7. 50 Most Common African American Surnames (Allegheny County, Pennsylvania (1992-2001) [4,376]
http://pancocojams.blogspot.com/2015/05/50-most-common-african-american.html
****
8. Down By The Banks Of The Hanky Panky (videos & different text examples), February 11, 2015 [3,766]
http://pancocojams.blogspot.com/2015/02/down-by-banks-of-hanky-panky-video.html
****
9. What Ago! Ame'! Means And Where That Call & Response Command Came From, January 19, 2015 [2,896]
http://pancocojams.blogspot.com/2015/01/what-ago-ame-means-and-where-that-call.html
****
10. Suli Breaks - I Will Not Let An Exam Result Decide My Fate (words & video) January 26, 2015 [2,025]
http://pancocojams.blogspot.com/2015/01/suli-breaks-i-will-not-let-exam-result.html
****
Thanks for visiting pancocojams.
Publishing these links in one post makes it easier for me to enjoy these posts again, and also provides an opportunity for you to check out some posts that you might have missed.
Visitor comments are welcome.
Happy Holidays And Happy New Year!
Pancocojams showcases the music, dances, language practices, & customs of African Americans and of other people of Black descent throughout the world.
Translate
Sunday, December 27, 2015
Saturday, December 26, 2015
Why Swahili Terms Are Used For The African American Originated Holiday "Kwanzaa"
Edited by Azizi Powell
This post provides information about the African American originated holiday "Kwanzaa" and specifically explores why that holiday uses terms from the Swahili language.
The content of this post is presented for cultural and sociological purposes.
All copyrights remain with their owners.
Thanks also to all those who are featured in these post, and thanks to the publishers of these examples on YouTube.
Click http://pancocojams.blogspot.com/2012/12/teddy-pendergrass-happy-kwanzaa-video.html for a related pancocojams post "Teddy Pendergrass - Happy Kwanzaa (video & lyrics)"
Also click http://pancocojams.blogspot.com/2014/01/the-history-meaning-of-red-black-and.html
for another related pancocojams post "The History & Meaning Of The Red, Black, And Green Flag".
Thanks to Maulana Karenga for creating the Kwanzaa holiday. Thanks also to all those who are quoted in this post.
****
OVERVIEW
Although KiSwahili (commonly referred to as "Swahili") terms are central to the holiday "Kwanzaa", that holiday did not originate in Africa. Kwanzaa wasn't created in the United States by descendants of Swahili speaking East Africans. Few Africans in Africa know about the Kwanzaa holiday, and few African Americans actually celebrate this holiday which was created by Maulana Ron Karenga in 1966 to foster in African Americans' pride in our African heritage.
Swahili terms are central to the Kwanzaa holiday because its Black cultural nationalist creator was a proponent of the pan-Africanists' viewpoint that Swahili should be the language which unites all Africans and all people of the African Diaspora.
Here's information about pan-Africanism from https://en.wikipedia.org/wiki/Pan-Africanism:
"Pan-Africanism is an ideology and movement that encourages the solidarity of Africans worldwide.[1] It is based on the belief that unity is vital to economic, social, and political progress and aims to "unify and uplift" people of African descent.[2] The ideology asserts that the fate of all African peoples and countries are intertwined. At its core Pan-Africanism is "a belief that African peoples, both on the continent and in the diaspora, share not merely a common history, but a common destiny".[3]
-snip-
Notice that red, black, and green are the colors of the pan-African flag. Red, black, and green are also the colors of the official flag for a number of African nations, and those colors are also found in the flag used to represent African Americans. Three of the candles for the Kwanzaa holiday are red, three are green, and the central candle which is used to light the other candles is the color black.
-end of quote-
By "Black cultural nationalist" I mean a person who is interested in African cultures. I distinguish that term from "Black nationalist" - a person who is interested in establishing separate nations for Black people. That said, a Black cultural nationalist can be a Black nationalist. For the record, Since 1967, I was and still am a Black cultural nationalist. However, I've never been a Black nationalist. I don't know if that is true for Maulana Karenga.
****
EXCERPTS FROM ARTICLES ABOUT THE SWAHILI LANGUAGE, PAN-AFRICANISM, AND THE KWANZAA HOLIDAY
Note: These excerpts are given in no particular order. I've assigned numbers to the articles excerpted for referencing purposes only.
Excerpt #1:
From http://www.livinglanguage.com/blog/2015/12/15/kwanzaa-an-american-holiday-with-a-swahili-voice/
Did you know that the word “Kwanzaa” is Swahili? And did you know that Kwanzaa is not, in fact, an African holiday, but an American one?
The celebration of Kwanzaa was begun in 1966 by Dr. Maulana Karenga as a way for African-Americans to celebrate their heritage. It draws from the socio-political nature of the Ujamaa (socialist) ideals established by the first president of Tanzania, Julias Nyerere, and thus it uses Swahili words for its holiday lexicon. The word Kwanzaa itself means first, as in the first harvest. Kwanzaa is celebrated from December 26th through January 1st, and the days of Kwanzaa are named using Swahili words to explain the seven core principles of the holiday: Umoja (Unity), Kujichagulia (Self-Determination, [literally, to appoint]), Ujima (Collective Work and Responsibility [lit., communalism]), Ujamaa (Cooperative Economics [lit., socialism]), Nia (Purpose, [lit., interest]), Kuumba (Creativity), and Imani (Faith). These seven principles comprise Kawaida (tradition), and are intended to communicate and celebrate the best principles of African heritage. The Swahili phrase Habari gani? (How are you doing? [lit., What’s the news?]) is used by celebrants as a greeting each day of the week of Kwanzaa."...
****
Excerpt #2:
From http://harvardpolitics.com/books-arts/swahili-language-influence/ April 20, 2015
"A Language of Their Own: Swahili and Its Influences" by Olivia Herrington
..."When the Kenyan government adopted Swahili as its official language in 1970, it lauded the language for being more African than was English, the previous choice for the government and people’s affairs. As The New York Times reported then, “the governing council of the Kenya African National Union, the ruling party, decided that the widespread use of English language smacked of neo-colonialism, or at least was un-African.”
Or so it was said. But Swahili itself appears to be, at least somewhat, “un-African.” Jomo Kenyatta, president at the time, seemingly chose to overlook Swahili’s foreign influences. The language was born from the interactions between dwellers of the East African coast and traders from the Middle East. Those traders spread its vocabulary as they rode their ivory and slave caravans farther inland, reaching the Democratic Republic of the Congo in the west and Uganda in the north. Indeed, the very name “Swahili” stems from the Arabic for “of the coast,” sawahili. The language also incorporates pieces of English, German, Portuguese, and other tongues belonging to the merchants and colonizers who permeated the region. Yet, curiously, Swahili has come to represent pride in post-colonial identity.
...Tanzanians accept the language’s significance more completely than Kenyans and cherish it more ardently. Their relationship with their chosen tongue began at the birth of the country itself, in 1964. From the start, Julius Nyerere, Tanzania’s first president, promoted Ujamaa, a nationalist and pan-Africanist ideology that revolved around reliance on Swahili instead of on European languages. Though Tanzanian citizens possess tribal affiliations and typically speak a tribal language in addition to Swahili, they value their allegiance to their country. This priority is rare in Africa, a continent of people whose first loyalty belongs more commonly to their tribe. That general preference is unsurprising: many country borders were drawn by European colonial powers, rulers who disregarded or intentionally opposed grouping Africans according to tribal and linguistic affiliations. Tanzanians, though, feel unified—a credit to the strength of Nyerere’s vision.
...Similarly, some African-Americans have praised the language’s authentic value, an affiliation that Dr. Maulana Karenga, the American founder of the holiday Kwanzaa and a leader of US Organization, supports wholeheartedly. “We wanted to escape Western tradition and tribalism, both. Swahili is not a tribal language—it represents a collective effort and our group does too,” he told a Life magazine reporter in 1968. As the Black Power movement gained strength in the late 1960s, the language became for the movement’s members a symbol of meaningful black identity. The timing was excellently coordinated: just as East Africans themselves were accepting Swahili as both tool and emblem of nationalism, US was offering it a place in America—extending the significance to the swelling Black nationalism in which the organization was engaged.
...Even beyond the tradition of Arab slave traders’ using Swahili, it was true the link between the language and African-American heritage was tenuous. Most African Americans’ ancestors came from the west coast of Africa, where Swahili is not spoken. John McWhorter, linguist and associate professor at Columbia University, has argued for the Ghanaian language Twi as a more suitable option. But Swahili felt to Karenga like an appropriate language for pan-African unity. It became Kwanzaa’s established language, providing the holiday with the roots of its name and the words for its seven principles. Karenga’s preference fit well with Nyerere’s."...
-snip-
I added italics to those sentences to highlight them.
****
Excerpt #3
From discussion thread for video: "Black People Learn About Kwanzaa" https://www.youtube.com/watch?time_continue=1&v=bEwxZuShUn4
Matthew Boyce, December 20, 2015
Wikipedia says: Maulana Karenga created Kwanzaa in 1965 as the first specifically African-American holiday. According to Karenga, the name Kwanzaa derives from the Swahili phrase matunda ya kwanza, meaning "first fruits of the harvest". The choice of Swahili, an East African language, reflects its status as a symbol of Pan-Africanism, especially in the 1960s, although most of the Atlantic slave trade that brought African people to America originated in West Africa.
Kwanzaa is a celebration that has its roots in the black nationalist movement of the 1960s, and was established as a means to help African Americans reconnect with their African cultural and historical heritage by uniting in meditation and study of African traditions and Nguzo Saba, the "seven principles of African Heritage" which Karenga said "is a communitarian African philosophy".
During the early years of Kwanzaa, Karenga said that it was meant to be an "oppositional alternative" to Christmas.However, as Kwanzaa gained mainstream adherents, Karenga altered his position so that practicing Christians would not be alienated, then stating in the 1997 Kwanzaa: A Celebration of Family, Community, and Culture, "Kwanzaa was not created to give people an alternative to their own religion or religious holiday."
Many African Americans who celebrate Kwanzaa do so in addition to observing Christmas."
**
Nicole ATCQFAN, December 24, 2015
"Kwanzaa is a fair attempt at getting African-Americans to reattain some kind of African culture that was taken from them. My main issue with the holiday is that it isn't inclusive of all or at least several cultures in Africa. Kwanzaa's major concepts are pretty representative of many African cultures but the nuances like language is not. The creator of the holiday used Kiswahili terms, which is odd in my opinion. This language is actually a creole that emerged from the Swahili people of East Africa who have Bantu and Arabic blood. Today, many non-Swahili East Africans like my family speak it today. I would imagine more focus on the cultures that emerged off the West coast of Africa since many African-Americans (not all), have roots there.*
Fortunately, I'm in a situation where I know where I am from and can trace back my ancestral home/spiritual practices so I Kwanzaa isn't something I partake in. But I feel like it's important for Blacks in North America to have a sense of what their heritage could be like by practicing traditions that their ancestors could have partake in..."
-snip-
*I think that Nicole ATCQFAN meant was "I would imagine [that instead of using Swahili, there should have been] more focus on the cultures that emerged off the West coast of Africa..."
-snip-
I should also note that several commenters wrote that the people in the video didn't use the correct pronunciation for the Swahili words. Also, a few commenters noted that "kwanza" is the name of the currency in the nation of Angola which is located in South Central Africa.
The words in brackets are my addition to her sentence.
****
RELATED LINK
Click http://www.nairaland.com/406297/kiswahili-should-made-official-African "Kiswahili Should Be Made The Official African Language - Culture - Nairaland" [2010]
Most of the bloggers on that forum are from Nigeria.
****
EDITOR'S COMMENT
Other examples of the use of Swahili terms among Black cultural nationalists in the late 1960s are the use of the rallying calls "Uhuru!" = "freedom" and "Harambee" = "all pull together".
The Swahili words "Imani" (faith) and "Nia" (purpose)-terms for two of the days of Kwanzaa- have become relatively common African Americans female names. Also, I believe that more Swahili proper names have been given to African Americans who aren't descended from Swahili speaking Africans than names from another other African culture, although there are probably more African Americans with Arabic names than Swahili names). I believe that this is because in the 1960s and prior to the internet African Americans had little information about Africa, but somewhat more information about Arabic and Swahili names than about names from any other African culture. In large part this was due to 1960s Black cultural nationalists' adoption of that language over Twi, Yoruba, Igbo, Wolof, and other West African languages.
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Happy Holidays!
This post provides information about the African American originated holiday "Kwanzaa" and specifically explores why that holiday uses terms from the Swahili language.
The content of this post is presented for cultural and sociological purposes.
All copyrights remain with their owners.
Thanks also to all those who are featured in these post, and thanks to the publishers of these examples on YouTube.
Click http://pancocojams.blogspot.com/2012/12/teddy-pendergrass-happy-kwanzaa-video.html for a related pancocojams post "Teddy Pendergrass - Happy Kwanzaa (video & lyrics)"
Also click http://pancocojams.blogspot.com/2014/01/the-history-meaning-of-red-black-and.html
for another related pancocojams post "The History & Meaning Of The Red, Black, And Green Flag".
Thanks to Maulana Karenga for creating the Kwanzaa holiday. Thanks also to all those who are quoted in this post.
****
OVERVIEW
Although KiSwahili (commonly referred to as "Swahili") terms are central to the holiday "Kwanzaa", that holiday did not originate in Africa. Kwanzaa wasn't created in the United States by descendants of Swahili speaking East Africans. Few Africans in Africa know about the Kwanzaa holiday, and few African Americans actually celebrate this holiday which was created by Maulana Ron Karenga in 1966 to foster in African Americans' pride in our African heritage.
Swahili terms are central to the Kwanzaa holiday because its Black cultural nationalist creator was a proponent of the pan-Africanists' viewpoint that Swahili should be the language which unites all Africans and all people of the African Diaspora.
Here's information about pan-Africanism from https://en.wikipedia.org/wiki/Pan-Africanism:
"Pan-Africanism is an ideology and movement that encourages the solidarity of Africans worldwide.[1] It is based on the belief that unity is vital to economic, social, and political progress and aims to "unify and uplift" people of African descent.[2] The ideology asserts that the fate of all African peoples and countries are intertwined. At its core Pan-Africanism is "a belief that African peoples, both on the continent and in the diaspora, share not merely a common history, but a common destiny".[3]
-snip-
Notice that red, black, and green are the colors of the pan-African flag. Red, black, and green are also the colors of the official flag for a number of African nations, and those colors are also found in the flag used to represent African Americans. Three of the candles for the Kwanzaa holiday are red, three are green, and the central candle which is used to light the other candles is the color black.
-end of quote-
By "Black cultural nationalist" I mean a person who is interested in African cultures. I distinguish that term from "Black nationalist" - a person who is interested in establishing separate nations for Black people. That said, a Black cultural nationalist can be a Black nationalist. For the record, Since 1967, I was and still am a Black cultural nationalist. However, I've never been a Black nationalist. I don't know if that is true for Maulana Karenga.
****
EXCERPTS FROM ARTICLES ABOUT THE SWAHILI LANGUAGE, PAN-AFRICANISM, AND THE KWANZAA HOLIDAY
Note: These excerpts are given in no particular order. I've assigned numbers to the articles excerpted for referencing purposes only.
Excerpt #1:
From http://www.livinglanguage.com/blog/2015/12/15/kwanzaa-an-american-holiday-with-a-swahili-voice/
Did you know that the word “Kwanzaa” is Swahili? And did you know that Kwanzaa is not, in fact, an African holiday, but an American one?
The celebration of Kwanzaa was begun in 1966 by Dr. Maulana Karenga as a way for African-Americans to celebrate their heritage. It draws from the socio-political nature of the Ujamaa (socialist) ideals established by the first president of Tanzania, Julias Nyerere, and thus it uses Swahili words for its holiday lexicon. The word Kwanzaa itself means first, as in the first harvest. Kwanzaa is celebrated from December 26th through January 1st, and the days of Kwanzaa are named using Swahili words to explain the seven core principles of the holiday: Umoja (Unity), Kujichagulia (Self-Determination, [literally, to appoint]), Ujima (Collective Work and Responsibility [lit., communalism]), Ujamaa (Cooperative Economics [lit., socialism]), Nia (Purpose, [lit., interest]), Kuumba (Creativity), and Imani (Faith). These seven principles comprise Kawaida (tradition), and are intended to communicate and celebrate the best principles of African heritage. The Swahili phrase Habari gani? (How are you doing? [lit., What’s the news?]) is used by celebrants as a greeting each day of the week of Kwanzaa."...
****
Excerpt #2:
From http://harvardpolitics.com/books-arts/swahili-language-influence/ April 20, 2015
"A Language of Their Own: Swahili and Its Influences" by Olivia Herrington
..."When the Kenyan government adopted Swahili as its official language in 1970, it lauded the language for being more African than was English, the previous choice for the government and people’s affairs. As The New York Times reported then, “the governing council of the Kenya African National Union, the ruling party, decided that the widespread use of English language smacked of neo-colonialism, or at least was un-African.”
Or so it was said. But Swahili itself appears to be, at least somewhat, “un-African.” Jomo Kenyatta, president at the time, seemingly chose to overlook Swahili’s foreign influences. The language was born from the interactions between dwellers of the East African coast and traders from the Middle East. Those traders spread its vocabulary as they rode their ivory and slave caravans farther inland, reaching the Democratic Republic of the Congo in the west and Uganda in the north. Indeed, the very name “Swahili” stems from the Arabic for “of the coast,” sawahili. The language also incorporates pieces of English, German, Portuguese, and other tongues belonging to the merchants and colonizers who permeated the region. Yet, curiously, Swahili has come to represent pride in post-colonial identity.
...Tanzanians accept the language’s significance more completely than Kenyans and cherish it more ardently. Their relationship with their chosen tongue began at the birth of the country itself, in 1964. From the start, Julius Nyerere, Tanzania’s first president, promoted Ujamaa, a nationalist and pan-Africanist ideology that revolved around reliance on Swahili instead of on European languages. Though Tanzanian citizens possess tribal affiliations and typically speak a tribal language in addition to Swahili, they value their allegiance to their country. This priority is rare in Africa, a continent of people whose first loyalty belongs more commonly to their tribe. That general preference is unsurprising: many country borders were drawn by European colonial powers, rulers who disregarded or intentionally opposed grouping Africans according to tribal and linguistic affiliations. Tanzanians, though, feel unified—a credit to the strength of Nyerere’s vision.
...Similarly, some African-Americans have praised the language’s authentic value, an affiliation that Dr. Maulana Karenga, the American founder of the holiday Kwanzaa and a leader of US Organization, supports wholeheartedly. “We wanted to escape Western tradition and tribalism, both. Swahili is not a tribal language—it represents a collective effort and our group does too,” he told a Life magazine reporter in 1968. As the Black Power movement gained strength in the late 1960s, the language became for the movement’s members a symbol of meaningful black identity. The timing was excellently coordinated: just as East Africans themselves were accepting Swahili as both tool and emblem of nationalism, US was offering it a place in America—extending the significance to the swelling Black nationalism in which the organization was engaged.
...Even beyond the tradition of Arab slave traders’ using Swahili, it was true the link between the language and African-American heritage was tenuous. Most African Americans’ ancestors came from the west coast of Africa, where Swahili is not spoken. John McWhorter, linguist and associate professor at Columbia University, has argued for the Ghanaian language Twi as a more suitable option. But Swahili felt to Karenga like an appropriate language for pan-African unity. It became Kwanzaa’s established language, providing the holiday with the roots of its name and the words for its seven principles. Karenga’s preference fit well with Nyerere’s."...
-snip-
I added italics to those sentences to highlight them.
****
Excerpt #3
From discussion thread for video: "Black People Learn About Kwanzaa" https://www.youtube.com/watch?time_continue=1&v=bEwxZuShUn4
Matthew Boyce, December 20, 2015
Wikipedia says: Maulana Karenga created Kwanzaa in 1965 as the first specifically African-American holiday. According to Karenga, the name Kwanzaa derives from the Swahili phrase matunda ya kwanza, meaning "first fruits of the harvest". The choice of Swahili, an East African language, reflects its status as a symbol of Pan-Africanism, especially in the 1960s, although most of the Atlantic slave trade that brought African people to America originated in West Africa.
Kwanzaa is a celebration that has its roots in the black nationalist movement of the 1960s, and was established as a means to help African Americans reconnect with their African cultural and historical heritage by uniting in meditation and study of African traditions and Nguzo Saba, the "seven principles of African Heritage" which Karenga said "is a communitarian African philosophy".
During the early years of Kwanzaa, Karenga said that it was meant to be an "oppositional alternative" to Christmas.However, as Kwanzaa gained mainstream adherents, Karenga altered his position so that practicing Christians would not be alienated, then stating in the 1997 Kwanzaa: A Celebration of Family, Community, and Culture, "Kwanzaa was not created to give people an alternative to their own religion or religious holiday."
Many African Americans who celebrate Kwanzaa do so in addition to observing Christmas."
**
Nicole ATCQFAN, December 24, 2015
"Kwanzaa is a fair attempt at getting African-Americans to reattain some kind of African culture that was taken from them. My main issue with the holiday is that it isn't inclusive of all or at least several cultures in Africa. Kwanzaa's major concepts are pretty representative of many African cultures but the nuances like language is not. The creator of the holiday used Kiswahili terms, which is odd in my opinion. This language is actually a creole that emerged from the Swahili people of East Africa who have Bantu and Arabic blood. Today, many non-Swahili East Africans like my family speak it today. I would imagine more focus on the cultures that emerged off the West coast of Africa since many African-Americans (not all), have roots there.*
Fortunately, I'm in a situation where I know where I am from and can trace back my ancestral home/spiritual practices so I Kwanzaa isn't something I partake in. But I feel like it's important for Blacks in North America to have a sense of what their heritage could be like by practicing traditions that their ancestors could have partake in..."
-snip-
*I think that Nicole ATCQFAN meant was "I would imagine [that instead of using Swahili, there should have been] more focus on the cultures that emerged off the West coast of Africa..."
-snip-
I should also note that several commenters wrote that the people in the video didn't use the correct pronunciation for the Swahili words. Also, a few commenters noted that "kwanza" is the name of the currency in the nation of Angola which is located in South Central Africa.
The words in brackets are my addition to her sentence.
****
RELATED LINK
Click http://www.nairaland.com/406297/kiswahili-should-made-official-African "Kiswahili Should Be Made The Official African Language - Culture - Nairaland" [2010]
Most of the bloggers on that forum are from Nigeria.
****
EDITOR'S COMMENT
Other examples of the use of Swahili terms among Black cultural nationalists in the late 1960s are the use of the rallying calls "Uhuru!" = "freedom" and "Harambee" = "all pull together".
The Swahili words "Imani" (faith) and "Nia" (purpose)-terms for two of the days of Kwanzaa- have become relatively common African Americans female names. Also, I believe that more Swahili proper names have been given to African Americans who aren't descended from Swahili speaking Africans than names from another other African culture, although there are probably more African Americans with Arabic names than Swahili names). I believe that this is because in the 1960s and prior to the internet African Americans had little information about Africa, but somewhat more information about Arabic and Swahili names than about names from any other African culture. In large part this was due to 1960s Black cultural nationalists' adoption of that language over Twi, Yoruba, Igbo, Wolof, and other West African languages.
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Happy Holidays!
Wednesday, December 23, 2015
Ethiopian Christmas (Gena) Songs & Religious Services
Edited by Azizi Powell
This post showcases seven video examples of Ethiopian Christmas (Gena) songs and religious services.
The content of this post is presented for cultural, religious, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to all the composers of these songs. Thanks also to all those who are featured in this post, and thanks to the publishers of these examples on YouTube.
****
SHOWCASE EXAMPLES
These examples are given in chronological order according to their publishing dates on YouTube with the oldest dated example given first.
Example #1: Ethiopian Orthodox Tewahedo Church Christmas Song TTEOTV 4-4
TTEOTV, Uploaded on Jan 6, 2009
Ethiopian Orthodox Tewahedo Church Christmas Song "The savior of the world is born today"
****
Example #2: Denver Medhanealem/ Gena/ ዴንቨር ደብረ ሰላም መድኃኔዓለም ቤ/ክ
Abraham Demssew Uploaded on Jan 8, 2010
Denver [Colorado, USA] DebreSelam Medhanealem Ethiopian Orthodox Tewahedo Church Gena Celebration 2010
ዴንቨር ደበረ ሰላም መድኃኔዓለም የ/ኢ/ኦ/ተ/ቤ/ 2002 e.c
****
Example #3: Legendary Ethiopian Christmas ( Gena ) song.by wody Hailu
Mrbaria1, Uploaded on Dec 25, 2010
****
Example #4: Dawit Bekele - Amharic Christmas Song
Ibex - ዋልያ, Published on Jan 5, 2013
Ethiopian Orthodox Church Mezemur
Teweldenaho Emdenegele
****
Example #5: GENA 2013
Mvproductionful, Published on Jan 18, 2013
Ethiopian Christmas celebration 2013
****
Example #6: Ethiopian Christmas song
keddist3, Published on Dec 23, 2013
****
Example #7: Ethiopian Christmas Song Meseret kirestos choir
ledeya Bekele, Published on Dec 25, 2013
ልዑል ተወለደ በቤተልሄም
የፍጥረታት ቤዛ መድሃኒዓለም
ክብር በአርያም ይሁን ለእግዚአብሄር
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This post showcases seven video examples of Ethiopian Christmas (Gena) songs and religious services.
The content of this post is presented for cultural, religious, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to all the composers of these songs. Thanks also to all those who are featured in this post, and thanks to the publishers of these examples on YouTube.
****
SHOWCASE EXAMPLES
These examples are given in chronological order according to their publishing dates on YouTube with the oldest dated example given first.
Example #1: Ethiopian Orthodox Tewahedo Church Christmas Song TTEOTV 4-4
TTEOTV, Uploaded on Jan 6, 2009
Ethiopian Orthodox Tewahedo Church Christmas Song "The savior of the world is born today"
****
Example #2: Denver Medhanealem/ Gena/ ዴንቨር ደብረ ሰላም መድኃኔዓለም ቤ/ክ
Abraham Demssew Uploaded on Jan 8, 2010
Denver [Colorado, USA] DebreSelam Medhanealem Ethiopian Orthodox Tewahedo Church Gena Celebration 2010
ዴንቨር ደበረ ሰላም መድኃኔዓለም የ/ኢ/ኦ/ተ/ቤ/ 2002 e.c
****
Example #3: Legendary Ethiopian Christmas ( Gena ) song.by wody Hailu
Mrbaria1, Uploaded on Dec 25, 2010
****
Example #4: Dawit Bekele - Amharic Christmas Song
Ibex - ዋልያ, Published on Jan 5, 2013
Ethiopian Orthodox Church Mezemur
Teweldenaho Emdenegele
****
Example #5: GENA 2013
Mvproductionful, Published on Jan 18, 2013
Ethiopian Christmas celebration 2013
****
Example #6: Ethiopian Christmas song
keddist3, Published on Dec 23, 2013
****
Example #7: Ethiopian Christmas Song Meseret kirestos choir
ledeya Bekele, Published on Dec 25, 2013
ልዑል ተወለደ በቤተልሄም
የፍጥረታት ቤዛ መድሃኒዓለም
ክብር በአርያም ይሁን ለእግዚአብሄር
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Monday, December 21, 2015
Amen (Gospel, & Holiday Song) - Information, Lyrics, YouTube Examples
Edited by Azizi Powell
This post provides information about the African American religious song "Amen". That song is sometimes called "See The Little Baby" or "Amen, Amen, Amen".
Four lyric versions of "Amen" are featured in this post along with seven videos or sound files of "Amen" that have been posted on YouTube.
The content of this post is presented for cultural, religious, and aesthetic purposes.
All copyrights remain with their owners.
*Lyrics for the Wings Over Jordan Choir's (1953) recording were added to this post on 12/22/2015.
Thanks to the composers and arrangers of this song. Particular thanks to Jester Hairston, the composer/arranger of the version of "Amen" that Sidney Poitier 'sung' in the movie "Lilies Of The Field" (Hairston's voice was the one we actually heard singing that song). Thanks to all those who are featured in these videos. Thanks also to all those who are quoted in this post and thanks to the publishers of these videos on YouTube.
Notice that Andrae Crouch's contemporary song "Let The Church Say Amen" isn't the same song as the Spiritual/Gospel song that is showcased in this post. Click http://pancocojams.blogspot.com/2013/06/andrae-crouch-let-church-say-amen.html for a pancocojams post about that song.
****
INFORMATION ABOUT THE RELIGIOUS SONG "AMEN" [updated 12/22/2015]
"Amen" is sometimes categorized as an African American Spiritual, but it's possible that it could be an early Gospel song instead of a Spiritual. I categorize early Gospel songs as those which were composed in the late 19th century and, particularly, in the beginning of the 20th century.
The earliest documentation of a recording of "Amen" that I could find is by the Wings Of Jordan (Gospel group). That song was recorded in 1948, but released in 1949 (source: Mudcat folk music forum comment, http://mudcat.org/thread.cfm?threadid=9612
Many versions of this Spiritual/Gospel song tell the story of Jesus' life from his birth to his rising on Easter. Here's information about that song from two other online sources:
From https://en.wikipedia.org/wiki/Amen_(gospel_song)
"Amen" is a traditional folk gospel song that was popularized by The Impressions.
It was recorded in June 1948 and released in January 1949 by the Wings Over Jordan Choir.[1][2]
The song was arranged by Jester Hairston, for the Sidney Poitier film Lilies of the Field (1963), which popularized the song. Curtis Mayfield said "I'd gone to see 'Lilies of The Field,' and the song in it, 'Amen,' was very inspiring for me as was the movie . . . Of course, I'd decided to do a version of it. We put it together in the studio starting off with a musical 'swing low sweet chariot', and then we fell into that particular song with somewhat of a marching rhythm."[3] The song was the first Impressions' hit that Mayfield did not write. Mayfield inserted the title of the song "Keep on Pushing", which was recorded by the Impressions, in-between the lyrics of the song.
The song went to number one on Cashbox Magazine's R&B chart for three weeks and reached #7 on the Billboard Hot 100 singles chart in 1964.[4] The B-side, "Long, Long Winter", peaked at #35 on the Cashbox R&B chart. A new version was released by The Impressions in 1969 under the title "Amen (1970)", reaching #44 on the Billboard Best Selling Soul Singles chart in January 1970."
-snip-
Italics added to highlight this sentence. This is the earliest recording date for "Amen" that I've found. Does anyone know of an earlier recording date for the song "Amen"?
****
From http://www.allmusic.com/song/amen-mt0033368314
Amen: Song Review by William Ruhlmann
"The roots of "Amen" lie in a Negro spiritual, but the song first gained notice when Sidney Poitier sang it in the motion picture drama Lilies of the Field, which opened in the fall of 1963. A low-budget film about a handyman who builds a chapel for a group of nuns, Lilies of the Field was nominated for five Academy Awards, including best picture, winning Poitier the best actor award. With that, the movie became a substantial hit, and a soundtrack album charted in the spring of 1964. "Amen," its title repeated throughout the course of a stirring melody, with brief verses relating to incidents in the Bible, was credited to Jerry Goldsmith, the composer of the film score.* But when the Impressions recorded it for their Keep on Pushing LP, released in July, with an arrangement that began with a suggestion of "Swing Low, Sweet Chariot," "Amen" was credited to John W. Pate Sr. and Curtis Mayfield of the group.*
The Impressions' recording was released as a single in October 1964, probably to take advantage of its references to the Nativity for Christmas. It topped the R&B charts and reached the Top Ten of the pop charts. Thereafter, the song was recorded frequently by religious and pop artists. A posthumously released version by Otis Redding (which credited Redding as songwriter)* placed in the pop Top 40 and the R&B Top 20 in 1968.
-snip-
*Notice the custom of assigning composer credits to people who arrange versions of African American Spirituals. The real composers of Spirituals are unknown.
****
LYRICS [updated 12/22/2015
Note: I assigned numbers to these lyric versions. These numbers are given in approximation of the earliest versions, although I'm not sure when the rendition style given as #4 was first sung.
Version #1 - AMEN
(Wings Over Jordan Choir's version, 1948/1949)
Amen
[interjection] Hallelujah!
Amen
[interjection] In the Kingdom!
Amen, Amen
[interjection] Amen!
[repeat chorus above]
See the baby
Amen
Lying in a manger
Amen
On Christmas morning
Amen, Amen
See him at the temple
Preaching to the elders
I marvel at his wisdom
See him in the garden
Praying to His Father
In deepest sorrow
Amen Amen
Yes He is our Savior
Jesus died to save us
And he rose on Easter
Hallelujah!
Amen, amen
In the kingdom!
Amen, amen
With my Savior!
Amen, Amen
Amen, amen
Amen, amen
Amen, amen
Amen, amen
Amen, amen
Amen, amen
-snip-
This is my transcription from the recording given below as Example #5. Additions and corrections are welcome.
****
Version #2 - AMEN
Jester Hairston Version [1963]
From http://mudcat.org/thread.cfm?threadid=9612
Subject: Lyr Add: AMEN (Jester Hairston)
From: Jim Dixon
Date: 20 Jan 02 - 11:04 PM
Would you believe I found these lyrics in the Cardozo Law Review in an article called "Lilies of the Field: A Critique of Adjudication"?
This article from the UMass Campus Chronicle, credits the song "Amen" to black actor Jester Hairston, who also dubbed Sidney Poitier's voice in "Lilies of the Field."
AMEN
(Jester Hairston)
A-a-a-men a-a-a-men a-a-a-men, amen, amen
A-a-a-men a-a-a-men a-a-a-men, amen, amen
Sing it over!
A-a-a-men a-a-a-men a-a-a-men, amen, amen
A-a-a-men a-a-a-men a-a-a-men, amen, amen
See the baby,*
Wrapped in the manger,
On Christmas morning.
A-a-a-men a-a-a-men a-a-a-men, amen, amen
A-a-a-men a-a-a-men a-a-a-men, amen, amen
See him in the temple,
Talking with the elders,
Who marveled at his wisdom.
A-a-a-men a-a-a-men a-a-a-men, amen, amen
A-a-a-men a-a-a-men a-a-a-men, amen, amen
Down at the Jordan,
Where John was baptizing
And saving all sinners.
A-a-a-men a-a-a-men a-a-a-men, amen, amen
A-a-a-men a-a-a-men a-a-a-men, amen, amen
See him at the seaside,
Talking with the fishermen
And making them disciples.
A-a-a-men a-a-a-men a-a-a-men, amen, amen
A-a-a-men a-a-a-men a-a-a-men, amen, amen
Marching in Jerusalem,
Over palm branches,
In pomp and splendor.
A-a-a-men a-a-a-men a-a-a-men, amen, amen
A-a-a-men a-a-a-men a-a-a-men, amen, amen
See him in the garden,
Praying to his Father,
In deepest sorrow.
A-a-a-men a-a-a-men a-a-a-men, amen, amen
A-a-a-men a-a-a-men a-a-a-men, amen, amen
Led before Pilate,
Then they crucified him,
But he rose on Easter.
A-a-a-men a-a-a-men a-a-a-men, amen, amen
A-a-a-men a-a-a-men a-a-a-men, amen, amen
Hallelujah!
He died to save us!
And he lived forever!**
A-a-a-men a-a-a-men a-a-a-men, amen, amen
A-a-a-men a-a-a-men a-a-a-men, amen, amen
Hallelujah!
He died to save us!
And he lived forever!**
-snip-
*"See the baby is also sung as "See the little baby"
** "And he lived forever" maybe a typo. The words that are sung (that fit the concept of the song) are "And he lives forever".
The words "Amen Amen" are usually sung after these verses before singing the chorus.
I reformatted these lyrics into chorus/verse form for better reading clarity.
Notice the similarities of the 1948/1949 Wings Over Jordan Choir's version of "Amen" and the 1963 Jester Hairston's version of that song. Hairston's Wikipedia page https://en.wikipedia.org/wiki/Jester_Hairston indicates that "He also wrote the song "Amen", which he dubbed for the Sidney Poitier film Lilies of the Field (1963), and arranged traditional Negro spirituals." end of quote.
My reading of the way that sentence is worded assumes that "Amen" isn't a "Negro Spiritual" and also assumes that there were no earlier versions of the song "Amen." That is demonstrable not true.
Notice that the Wikipedia editors of that page credits Jester Hairston with composing "Amen" and also differentiates that song from songs that they refer to as "Negro Spirituals". However, it's quite possible that the 20th century arrangements of "Amen" are based on memories of a 19th century Spiritual of Spirituals. Spirituals can be arranged and sung in an African American Gospel style. That's why some articles about "Amen" refer to it as a Gospel song.
My conclusion is that Jester Hairston wrote his version of "Amen", and would be more accurately referred to as one of the arrangers of that song. It's possible that the arranger of the Wings Over Jordan Choir's version of "Amen" used an earlier version as his (or her) source. That version may have been one or more Spirituals. Jester Hairston could have been familiar with the Wings Over Jordan record. He also could have been familiar with the source or sources of that record.
****
Version #3 LYRICS: AMEN
(Impressions arrangement, 1970)
Amen, amen, amen, amen, amen
Sing it over
Amen, amen, amen, amen, amen
See the little baby
Wrapped in a manger on Christmas morning
Singing in a temple
Talking with the elders
Tomorrow there's wisdom
Amen, amen, amen, amen, amen
Hallelujah
Amen, amen, amen, amen, amen
Down at the Jordan
John was baptizing and saving all sinners
See him at the seaside
Talking with the fisherman
And made them disciples
Amen, amen, amen, amen, amen
Keep on pushin' now
Amen, amen, amen, amen, amen
Hallelujah now
Amen, amen, amen, amen, amen
Source: https://play.google.com/music/preview/Taa2u4opdfcwoyufyxwlq2tt4vm?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-songlyrics&u=0#
****
Version #4: AMEN
(a Gospel version -earliest date 1960s?)
Chorus:
Amen, amen, amen, amen, amen
Amen, amen, amen, amen, amen
[repeat one time]
Let the church say Amen
Let the church say Amen
Let the church say Amen
Amen, Amen.
(Note: Continue in this pattern) substituting other nouns such as "preacher", "deacon", "sisters", "brothers"...
For example:
Let the preachers say Amen
Let the preacher say Amen
Let the preacher say Amen
Amen Amen
Let the deacons say Amen
Let the deacons say Amen
Let the deacons say Amen
Amen Amen
-snip-
This version of "Amen" isn't a Christmas song. The song is open ended with no set order of verse. The verses can be sung more than one time. The song can begin with the chorus or can begin with a "Let the __ say" verse". The chorus can be sung in between these verse or the verses can be sung one after another. Also, this song can end with the chorus or with a verse.
****
SHOWCASE EXAMPLES
These examples are given in chronological order according to their publishing dates on YouTube with the oldest dated example given first.
Example #1: Medley Mary had a baby & Amen
Canal de Granotaperezi, Uploaded on Oct 20, 2006
Christmas song Christmas in United Kingdom [play] Godspell
-snip-
"Amen" begins at .55 of this video.
****
Example #2: Lilies of the Field - Amen
Beware ze Milky Pirate, Uploaded on Jul 17, 2007
This is the final scene in the film directed by Ralph Nelson. It's the scene where Homer Smith, played by Sidney Poitier leaves Mother Maria, played by Lilia Skala after building them a chapel. After taking one last look at the chapel he built, Smith, knowing that his work is done, slips into his car and drives quietly off into the night.
-snip-
Selected comments from this video's discussion thread:
Eric Ogren, 2013
"Few people know that Sidney Poitier did not sing this song. It was dubbed by Jester Hairston, who my mother met when she was in her high school choir and I saw at South Eugene High School when I was a kid.
**
Melanie Young, 2014
"Wonderful song written by an amazing composer, Jester Hairston. Those of us old enough to remember the TV show AMEN with Sherman Hemsley may remember Jester Hairston as the Rolly. He also wrote "Mary's Boy Child"."
**
Erik Lindquist, 2014
"he didn't write it...he arranged it. I knew Jester in 1972 and had a wonderful summer learning his world. Great great man who saw things in hollywood that would make us shudder today."
**
Erik Lindquist, 2014
"the voice you hear is that of Jester Hairston...the arranger of this spiritual and very cool dude! Sidney Poitier was cool with it, too."
****
Example #3: "Amen" - Gospel Christmas
Adam L. McKnight, Uploaded on Dec 22, 2007
Adam McKnight is featured soloist for the finale of one of Atlanta's favorite holiday classic events with The Atlanta Symphony Orchestra called "Gospel Christmas". This particular performance was the 25th anniversary of the ASO and featured special guest "The Pointer Sisters"
****
Example #4: Jester Hairston i Odense - Amen
Jytte Drud, Uploaded on Sep 12, 2008
Fra en koncert i Odense d. 28. april 1981
****
Example #5: Wings Over Jordan Choir - Amen, Amen, Amen (1953)
https://www.youtube.com/watch?v=BE6mVmtwaTQ&index=1&list=RDBE6mVmtwaTQ
[embedding disabled by request]
direfranchement, Uploaded on May 28, 2010
The old spirituals are always the best. Amen.
****
Example #6: Wintley Phipps - Amen (Live)
TheSevenBright, Uploaded on Oct 7, 2011
****
Example #7: The Impressions "Amen"
Willie Ellebie, Published on Nov 20, 2013
-snip-
Selected comment:
willieluncheonette, 2014
"As we've seen in our survey, the Impressions were the Wailers' biggest influence. Coxsone Dodd used to play their singles for Bob, Peter and Bunny and wanted them to pattern their harmony singing after Curtis and the boys. This 7" single rose to # 7 on the U.S. charts in 1964. It's probably the version the Wailers heard, although a comment below states the original comes from the film Lilies of the Field. The Impressions singles around this time exist in both mono and stereo. This one's stereo."
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This post provides information about the African American religious song "Amen". That song is sometimes called "See The Little Baby" or "Amen, Amen, Amen".
Four lyric versions of "Amen" are featured in this post along with seven videos or sound files of "Amen" that have been posted on YouTube.
The content of this post is presented for cultural, religious, and aesthetic purposes.
All copyrights remain with their owners.
*Lyrics for the Wings Over Jordan Choir's (1953) recording were added to this post on 12/22/2015.
Thanks to the composers and arrangers of this song. Particular thanks to Jester Hairston, the composer/arranger of the version of "Amen" that Sidney Poitier 'sung' in the movie "Lilies Of The Field" (Hairston's voice was the one we actually heard singing that song). Thanks to all those who are featured in these videos. Thanks also to all those who are quoted in this post and thanks to the publishers of these videos on YouTube.
Notice that Andrae Crouch's contemporary song "Let The Church Say Amen" isn't the same song as the Spiritual/Gospel song that is showcased in this post. Click http://pancocojams.blogspot.com/2013/06/andrae-crouch-let-church-say-amen.html for a pancocojams post about that song.
****
INFORMATION ABOUT THE RELIGIOUS SONG "AMEN" [updated 12/22/2015]
"Amen" is sometimes categorized as an African American Spiritual, but it's possible that it could be an early Gospel song instead of a Spiritual. I categorize early Gospel songs as those which were composed in the late 19th century and, particularly, in the beginning of the 20th century.
The earliest documentation of a recording of "Amen" that I could find is by the Wings Of Jordan (Gospel group). That song was recorded in 1948, but released in 1949 (source: Mudcat folk music forum comment, http://mudcat.org/thread.cfm?threadid=9612
Many versions of this Spiritual/Gospel song tell the story of Jesus' life from his birth to his rising on Easter. Here's information about that song from two other online sources:
From https://en.wikipedia.org/wiki/Amen_(gospel_song)
"Amen" is a traditional folk gospel song that was popularized by The Impressions.
It was recorded in June 1948 and released in January 1949 by the Wings Over Jordan Choir.[1][2]
The song was arranged by Jester Hairston, for the Sidney Poitier film Lilies of the Field (1963), which popularized the song. Curtis Mayfield said "I'd gone to see 'Lilies of The Field,' and the song in it, 'Amen,' was very inspiring for me as was the movie . . . Of course, I'd decided to do a version of it. We put it together in the studio starting off with a musical 'swing low sweet chariot', and then we fell into that particular song with somewhat of a marching rhythm."[3] The song was the first Impressions' hit that Mayfield did not write. Mayfield inserted the title of the song "Keep on Pushing", which was recorded by the Impressions, in-between the lyrics of the song.
The song went to number one on Cashbox Magazine's R&B chart for three weeks and reached #7 on the Billboard Hot 100 singles chart in 1964.[4] The B-side, "Long, Long Winter", peaked at #35 on the Cashbox R&B chart. A new version was released by The Impressions in 1969 under the title "Amen (1970)", reaching #44 on the Billboard Best Selling Soul Singles chart in January 1970."
-snip-
Italics added to highlight this sentence. This is the earliest recording date for "Amen" that I've found. Does anyone know of an earlier recording date for the song "Amen"?
****
From http://www.allmusic.com/song/amen-mt0033368314
Amen: Song Review by William Ruhlmann
"The roots of "Amen" lie in a Negro spiritual, but the song first gained notice when Sidney Poitier sang it in the motion picture drama Lilies of the Field, which opened in the fall of 1963. A low-budget film about a handyman who builds a chapel for a group of nuns, Lilies of the Field was nominated for five Academy Awards, including best picture, winning Poitier the best actor award. With that, the movie became a substantial hit, and a soundtrack album charted in the spring of 1964. "Amen," its title repeated throughout the course of a stirring melody, with brief verses relating to incidents in the Bible, was credited to Jerry Goldsmith, the composer of the film score.* But when the Impressions recorded it for their Keep on Pushing LP, released in July, with an arrangement that began with a suggestion of "Swing Low, Sweet Chariot," "Amen" was credited to John W. Pate Sr. and Curtis Mayfield of the group.*
The Impressions' recording was released as a single in October 1964, probably to take advantage of its references to the Nativity for Christmas. It topped the R&B charts and reached the Top Ten of the pop charts. Thereafter, the song was recorded frequently by religious and pop artists. A posthumously released version by Otis Redding (which credited Redding as songwriter)* placed in the pop Top 40 and the R&B Top 20 in 1968.
-snip-
*Notice the custom of assigning composer credits to people who arrange versions of African American Spirituals. The real composers of Spirituals are unknown.
****
LYRICS [updated 12/22/2015
Note: I assigned numbers to these lyric versions. These numbers are given in approximation of the earliest versions, although I'm not sure when the rendition style given as #4 was first sung.
Version #1 - AMEN
(Wings Over Jordan Choir's version, 1948/1949)
Amen
[interjection] Hallelujah!
Amen
[interjection] In the Kingdom!
Amen, Amen
[interjection] Amen!
[repeat chorus above]
See the baby
Amen
Lying in a manger
Amen
On Christmas morning
Amen, Amen
See him at the temple
Preaching to the elders
I marvel at his wisdom
See him in the garden
Praying to His Father
In deepest sorrow
Amen Amen
Yes He is our Savior
Jesus died to save us
And he rose on Easter
Hallelujah!
Amen, amen
In the kingdom!
Amen, amen
With my Savior!
Amen, Amen
Amen, amen
Amen, amen
Amen, amen
Amen, amen
Amen, amen
Amen, amen
-snip-
This is my transcription from the recording given below as Example #5. Additions and corrections are welcome.
****
Version #2 - AMEN
Jester Hairston Version [1963]
From http://mudcat.org/thread.cfm?threadid=9612
Subject: Lyr Add: AMEN (Jester Hairston)
From: Jim Dixon
Date: 20 Jan 02 - 11:04 PM
Would you believe I found these lyrics in the Cardozo Law Review in an article called "Lilies of the Field: A Critique of Adjudication"?
This article from the UMass Campus Chronicle, credits the song "Amen" to black actor Jester Hairston, who also dubbed Sidney Poitier's voice in "Lilies of the Field."
AMEN
(Jester Hairston)
A-a-a-men a-a-a-men a-a-a-men, amen, amen
A-a-a-men a-a-a-men a-a-a-men, amen, amen
Sing it over!
A-a-a-men a-a-a-men a-a-a-men, amen, amen
A-a-a-men a-a-a-men a-a-a-men, amen, amen
See the baby,*
Wrapped in the manger,
On Christmas morning.
A-a-a-men a-a-a-men a-a-a-men, amen, amen
A-a-a-men a-a-a-men a-a-a-men, amen, amen
See him in the temple,
Talking with the elders,
Who marveled at his wisdom.
A-a-a-men a-a-a-men a-a-a-men, amen, amen
A-a-a-men a-a-a-men a-a-a-men, amen, amen
Down at the Jordan,
Where John was baptizing
And saving all sinners.
A-a-a-men a-a-a-men a-a-a-men, amen, amen
A-a-a-men a-a-a-men a-a-a-men, amen, amen
See him at the seaside,
Talking with the fishermen
And making them disciples.
A-a-a-men a-a-a-men a-a-a-men, amen, amen
A-a-a-men a-a-a-men a-a-a-men, amen, amen
Marching in Jerusalem,
Over palm branches,
In pomp and splendor.
A-a-a-men a-a-a-men a-a-a-men, amen, amen
A-a-a-men a-a-a-men a-a-a-men, amen, amen
See him in the garden,
Praying to his Father,
In deepest sorrow.
A-a-a-men a-a-a-men a-a-a-men, amen, amen
A-a-a-men a-a-a-men a-a-a-men, amen, amen
Led before Pilate,
Then they crucified him,
But he rose on Easter.
A-a-a-men a-a-a-men a-a-a-men, amen, amen
A-a-a-men a-a-a-men a-a-a-men, amen, amen
Hallelujah!
He died to save us!
And he lived forever!**
A-a-a-men a-a-a-men a-a-a-men, amen, amen
A-a-a-men a-a-a-men a-a-a-men, amen, amen
Hallelujah!
He died to save us!
And he lived forever!**
-snip-
*"See the baby is also sung as "See the little baby"
** "And he lived forever" maybe a typo. The words that are sung (that fit the concept of the song) are "And he lives forever".
The words "Amen Amen" are usually sung after these verses before singing the chorus.
I reformatted these lyrics into chorus/verse form for better reading clarity.
Notice the similarities of the 1948/1949 Wings Over Jordan Choir's version of "Amen" and the 1963 Jester Hairston's version of that song. Hairston's Wikipedia page https://en.wikipedia.org/wiki/Jester_Hairston indicates that "He also wrote the song "Amen", which he dubbed for the Sidney Poitier film Lilies of the Field (1963), and arranged traditional Negro spirituals." end of quote.
My reading of the way that sentence is worded assumes that "Amen" isn't a "Negro Spiritual" and also assumes that there were no earlier versions of the song "Amen." That is demonstrable not true.
Notice that the Wikipedia editors of that page credits Jester Hairston with composing "Amen" and also differentiates that song from songs that they refer to as "Negro Spirituals". However, it's quite possible that the 20th century arrangements of "Amen" are based on memories of a 19th century Spiritual of Spirituals. Spirituals can be arranged and sung in an African American Gospel style. That's why some articles about "Amen" refer to it as a Gospel song.
My conclusion is that Jester Hairston wrote his version of "Amen", and would be more accurately referred to as one of the arrangers of that song. It's possible that the arranger of the Wings Over Jordan Choir's version of "Amen" used an earlier version as his (or her) source. That version may have been one or more Spirituals. Jester Hairston could have been familiar with the Wings Over Jordan record. He also could have been familiar with the source or sources of that record.
****
Version #3 LYRICS: AMEN
(Impressions arrangement, 1970)
Amen, amen, amen, amen, amen
Sing it over
Amen, amen, amen, amen, amen
See the little baby
Wrapped in a manger on Christmas morning
Singing in a temple
Talking with the elders
Tomorrow there's wisdom
Amen, amen, amen, amen, amen
Hallelujah
Amen, amen, amen, amen, amen
Down at the Jordan
John was baptizing and saving all sinners
See him at the seaside
Talking with the fisherman
And made them disciples
Amen, amen, amen, amen, amen
Keep on pushin' now
Amen, amen, amen, amen, amen
Hallelujah now
Amen, amen, amen, amen, amen
Source: https://play.google.com/music/preview/Taa2u4opdfcwoyufyxwlq2tt4vm?lyrics=1&utm_source=google&utm_medium=search&utm_campaign=lyrics&pcampaignid=kp-songlyrics&u=0#
****
Version #4: AMEN
(a Gospel version -earliest date 1960s?)
Chorus:
Amen, amen, amen, amen, amen
Amen, amen, amen, amen, amen
[repeat one time]
Let the church say Amen
Let the church say Amen
Let the church say Amen
Amen, Amen.
(Note: Continue in this pattern) substituting other nouns such as "preacher", "deacon", "sisters", "brothers"...
For example:
Let the preachers say Amen
Let the preacher say Amen
Let the preacher say Amen
Amen Amen
Let the deacons say Amen
Let the deacons say Amen
Let the deacons say Amen
Amen Amen
-snip-
This version of "Amen" isn't a Christmas song. The song is open ended with no set order of verse. The verses can be sung more than one time. The song can begin with the chorus or can begin with a "Let the __ say" verse". The chorus can be sung in between these verse or the verses can be sung one after another. Also, this song can end with the chorus or with a verse.
****
SHOWCASE EXAMPLES
These examples are given in chronological order according to their publishing dates on YouTube with the oldest dated example given first.
Example #1: Medley Mary had a baby & Amen
Canal de Granotaperezi, Uploaded on Oct 20, 2006
Christmas song Christmas in United Kingdom [play] Godspell
-snip-
"Amen" begins at .55 of this video.
****
Example #2: Lilies of the Field - Amen
Beware ze Milky Pirate, Uploaded on Jul 17, 2007
This is the final scene in the film directed by Ralph Nelson. It's the scene where Homer Smith, played by Sidney Poitier leaves Mother Maria, played by Lilia Skala after building them a chapel. After taking one last look at the chapel he built, Smith, knowing that his work is done, slips into his car and drives quietly off into the night.
-snip-
Selected comments from this video's discussion thread:
Eric Ogren, 2013
"Few people know that Sidney Poitier did not sing this song. It was dubbed by Jester Hairston, who my mother met when she was in her high school choir and I saw at South Eugene High School when I was a kid.
**
Melanie Young, 2014
"Wonderful song written by an amazing composer, Jester Hairston. Those of us old enough to remember the TV show AMEN with Sherman Hemsley may remember Jester Hairston as the Rolly. He also wrote "Mary's Boy Child"."
**
Erik Lindquist, 2014
"he didn't write it...he arranged it. I knew Jester in 1972 and had a wonderful summer learning his world. Great great man who saw things in hollywood that would make us shudder today."
**
Erik Lindquist, 2014
"the voice you hear is that of Jester Hairston...the arranger of this spiritual and very cool dude! Sidney Poitier was cool with it, too."
****
Example #3: "Amen" - Gospel Christmas
Adam L. McKnight, Uploaded on Dec 22, 2007
Adam McKnight is featured soloist for the finale of one of Atlanta's favorite holiday classic events with The Atlanta Symphony Orchestra called "Gospel Christmas". This particular performance was the 25th anniversary of the ASO and featured special guest "The Pointer Sisters"
****
Example #4: Jester Hairston i Odense - Amen
Jytte Drud, Uploaded on Sep 12, 2008
Fra en koncert i Odense d. 28. april 1981
****
Example #5: Wings Over Jordan Choir - Amen, Amen, Amen (1953)
https://www.youtube.com/watch?v=BE6mVmtwaTQ&index=1&list=RDBE6mVmtwaTQ
[embedding disabled by request]
direfranchement, Uploaded on May 28, 2010
The old spirituals are always the best. Amen.
****
Example #6: Wintley Phipps - Amen (Live)
TheSevenBright, Uploaded on Oct 7, 2011
****
Example #7: The Impressions "Amen"
Willie Ellebie, Published on Nov 20, 2013
-snip-
Selected comment:
willieluncheonette, 2014
"As we've seen in our survey, the Impressions were the Wailers' biggest influence. Coxsone Dodd used to play their singles for Bob, Peter and Bunny and wanted them to pattern their harmony singing after Curtis and the boys. This 7" single rose to # 7 on the U.S. charts in 1964. It's probably the version the Wailers heard, although a comment below states the original comes from the film Lilies of the Field. The Impressions singles around this time exist in both mono and stereo. This one's stereo."
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Saturday, December 19, 2015
Five Videos Of South African Indlamu (Zulu War] Dances
Edited by Azizi Powell
This is Part IV of a four part series on South African Ingoma and Indlamu dances.
This post showcases five YouTube video examples of South African Indlamu dances.
Click http://pancocojams.blogspot.com/2015/12/real-information-about-south-african_19.html for Part I of this series. Part I provides excerpts about the traditional and the contemporary meanings of Ingoma in South Africa from Vusabantu Ngema's 2007 University of Zululand Masters of Arts dissertation "Symbolism and Implications in the Zulu dance forms: Notions of composition, performance and appreciation of dance among the Zulu".
Click http://pancocojams.blogspot.com/2015/12/real-information-about-south-african.html for Part II of this series. Part II provides excerpts about the traditional and the contemporary meanings of Ingoma in South Africa from Vusabantu Ngema's 2007 University of Zululand Masters of Arts dissertation "Symbolism and Implications in the Zulu dance forms: Notions of composition, performance and appreciation of dance among the Zulu". Particular attention in these excerpts is given to description of indlamu dances and, in particular to the dance style called "Isizingili".
Click http://pancocojams.blogspot.com/2015/12/escerpt-about-ingoma-from-1929-1930.html for Part III of this series. Part III provides an excerpt of a research article by Veit Erlmann on Zulu dancing.
The content of this post is presented for folkloric, cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to all those who are featured in these videos. Thanks also to all those who are quoted in this post and thanks to the publishers of these videos on YouTube.
Please be aware that a number of YouTube videos of Indlamu dances and other dances from South Africa show topless women. The videos embedded in this post purposely doesn't include any of those videos in order to facilitate the possible use of this material in United States public schools and after school community centers.
****
SHOWCASE EXAMPLES: INDLAMU
These examples are given in chronological order according to their publishing dates on YouTube with the oldest dated example given first.
Example #1: The Zulu dance (indlamu)
SIPHO Ngcamu, Published on May 24, 2013
****
Example #2: Lamula Primary School Indlamu Dance
Scott McClure, Published on Jun 10, 2013
-snip-
This video showcases South African girls dancing Indlamu.
[Editor's note revised- July 13. 2016]
I think this video shows examples of "dual dancing" as described in excerpts of Vusabantu Ngema's 2007 University of Zululand dissertation on Zulu dance that is excerpted in Part I and Part II of this pancocojams series. Here's the quote from that dissertation which I think refers to the dancing performed in this video:
"Young girls at Ndomo also perform some form of dual dancing but they lift the knees and shake them attentively to the rhythm of the drum. This kind of performance is referred to as Indlamu or Ingadlela yezintombi and is done in an accompaniment of song and the clapping of hands by the spectators who usually stand in a circular formation. Couples (girls) take turn in the middle of the centre to perform quick movements described above." [page 51]
-snip-
The difference between Vusabantu Ngema's description of "dual dancing" and the performance in the above video is that the spectators are seated and the dancers are standing in a line and not a circle.
****
Example #3: INDLAMU
Mzikhona M Biyela, Published on Aug 14, 2014
****
Example #4: INDLAMU EPISODE 1
manzinimedia, Published on Oct 3, 2014
Indlamu is an African music television programme produced by Manzini Media.The show focuses on raw and original African music NOT the commerical version. We take a look at the culture (food, dance, music and clothing, etc). We are proud of being African.
-snip-
Notice that a women's group is the second group performing Indlamu in this video.
****
Example #5: INDLAMU Kwazulu Natal Best Zulu Dance (Must Watch)
Film Africa TV, Published on Apr 11, 2015
INDLAMU KZN 2015 Film Africa Yabantu
-snip-
Editor's Comments added July 13, 2016]
This video is 1 hour and 23 minutes. None of the female groups are topless.
A number of commenters wrote that they thought that the second group [beginning at 7:16] was the best.
****
EDITOR'S COMMENT
YouTube also includes a number of South African dance videos that include the word "ingoma" in their titles. I didn't feature any of those videos in this post because I'm not sure if "ingoma" in those videos' titles is used in the older, broad sense to "classify the broad category of Zulu recreational dance.dance" or the more contemporary sense of "Team dances that do not require drum accompaniment are recently being referred to as ingoma." [quoting Vusabantu Ngema's dissertation/book Symbolism and Implications in the Zulu dance forms: Notions of composition, performance and appreciation of dance among the Zulu.] Excerpts of that book are found in Part I and Part II of this series.
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This is Part IV of a four part series on South African Ingoma and Indlamu dances.
This post showcases five YouTube video examples of South African Indlamu dances.
Click http://pancocojams.blogspot.com/2015/12/real-information-about-south-african_19.html for Part I of this series. Part I provides excerpts about the traditional and the contemporary meanings of Ingoma in South Africa from Vusabantu Ngema's 2007 University of Zululand Masters of Arts dissertation "Symbolism and Implications in the Zulu dance forms: Notions of composition, performance and appreciation of dance among the Zulu".
Click http://pancocojams.blogspot.com/2015/12/real-information-about-south-african.html for Part II of this series. Part II provides excerpts about the traditional and the contemporary meanings of Ingoma in South Africa from Vusabantu Ngema's 2007 University of Zululand Masters of Arts dissertation "Symbolism and Implications in the Zulu dance forms: Notions of composition, performance and appreciation of dance among the Zulu". Particular attention in these excerpts is given to description of indlamu dances and, in particular to the dance style called "Isizingili".
Click http://pancocojams.blogspot.com/2015/12/escerpt-about-ingoma-from-1929-1930.html for Part III of this series. Part III provides an excerpt of a research article by Veit Erlmann on Zulu dancing.
The content of this post is presented for folkloric, cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to all those who are featured in these videos. Thanks also to all those who are quoted in this post and thanks to the publishers of these videos on YouTube.
Please be aware that a number of YouTube videos of Indlamu dances and other dances from South Africa show topless women. The videos embedded in this post purposely doesn't include any of those videos in order to facilitate the possible use of this material in United States public schools and after school community centers.
****
SHOWCASE EXAMPLES: INDLAMU
These examples are given in chronological order according to their publishing dates on YouTube with the oldest dated example given first.
Example #1: The Zulu dance (indlamu)
SIPHO Ngcamu, Published on May 24, 2013
****
Example #2: Lamula Primary School Indlamu Dance
Scott McClure, Published on Jun 10, 2013
-snip-
This video showcases South African girls dancing Indlamu.
[Editor's note revised- July 13. 2016]
I think this video shows examples of "dual dancing" as described in excerpts of Vusabantu Ngema's 2007 University of Zululand dissertation on Zulu dance that is excerpted in Part I and Part II of this pancocojams series. Here's the quote from that dissertation which I think refers to the dancing performed in this video:
"Young girls at Ndomo also perform some form of dual dancing but they lift the knees and shake them attentively to the rhythm of the drum. This kind of performance is referred to as Indlamu or Ingadlela yezintombi and is done in an accompaniment of song and the clapping of hands by the spectators who usually stand in a circular formation. Couples (girls) take turn in the middle of the centre to perform quick movements described above." [page 51]
-snip-
The difference between Vusabantu Ngema's description of "dual dancing" and the performance in the above video is that the spectators are seated and the dancers are standing in a line and not a circle.
****
Example #3: INDLAMU
Mzikhona M Biyela, Published on Aug 14, 2014
****
Example #4: INDLAMU EPISODE 1
manzinimedia, Published on Oct 3, 2014
Indlamu is an African music television programme produced by Manzini Media.The show focuses on raw and original African music NOT the commerical version. We take a look at the culture (food, dance, music and clothing, etc). We are proud of being African.
-snip-
Notice that a women's group is the second group performing Indlamu in this video.
****
Example #5: INDLAMU Kwazulu Natal Best Zulu Dance (Must Watch)
Film Africa TV, Published on Apr 11, 2015
INDLAMU KZN 2015 Film Africa Yabantu
-snip-
Editor's Comments added July 13, 2016]
This video is 1 hour and 23 minutes. None of the female groups are topless.
A number of commenters wrote that they thought that the second group [beginning at 7:16] was the best.
****
EDITOR'S COMMENT
YouTube also includes a number of South African dance videos that include the word "ingoma" in their titles. I didn't feature any of those videos in this post because I'm not sure if "ingoma" in those videos' titles is used in the older, broad sense to "classify the broad category of Zulu recreational dance.dance" or the more contemporary sense of "Team dances that do not require drum accompaniment are recently being referred to as ingoma." [quoting Vusabantu Ngema's dissertation/book Symbolism and Implications in the Zulu dance forms: Notions of composition, performance and appreciation of dance among the Zulu.] Excerpts of that book are found in Part I and Part II of this series.
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Excerpt About Ingoma From A 1929-1930 Research Paper Written by Veit Erlmann
Edited by Azizi Powell
This is Part III in a four part series on the South African dance forms Indoma and Indlamu. Part III provides an excerpt of a research article by Veit Erlmann on Zulu dancing.
Click http://pancocojams.blogspot.com/2015/12/real-information-about-south-african_19.html for Part I of this series. Part I provides excerpts about the traditional and the contemporary meanings of Ingoma in South Africa from Vusabantu Ngema's 2007 University of Zululand Masters of Arts dissertation "Symbolism and Implications in the Zulu dance forms: Notions of composition, performance and appreciation of dance among the Zulu".
Click http://pancocojams.blogspot.com/2015/12/real-information-about-south-african.html for Part II of this series. Part II provides excerpts about the traditional and the contemporary meanings of Ingoma in South Africa from Vusabantu Ngema's 2007 University of Zululand Masters of Arts dissertation "Symbolism and Implications in the Zulu dance forms: Notions of composition, performance and appreciation of dance among the Zulu". Particular attention in these excerpts is given to description of indlamu dances and, in particular to the dance style called "Isizingili".
Click http://pancocojams.blogspot.com/2015/12/five-videos-of-south-african-indlamu.html for Part IV of this series. Part IV provides videos of Indlamu dancing.
The content of this post is presented for folkloric, historical, cultural, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to Veit Erlmann for the information about Zulu culture that is shared online in this research article.
****
EXCERPT OF VEIT ERLMANN'S RESEARCH ARTICLE ON INGOMA
From http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=2631268">http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=2631268 http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=2631268 ‘Horses in the race course’: the domestication of ingoma dancing in South Africa, 1929–39
"On a Saturday night of January 1930 several thousand African men clad in loin cloths and the calico uniforms of domestic servants thronged a concert in the Workers' Hall of the Durban branch of the Industrial and Commercial Workers' Union (ICU) in Prince Edward Street. To the pounding sounds of hundreds of sticks, successive teams of dancers, some of them trained by Union officials from the rural hinterland, rushed to the stage performing the virile, stamping ingoma dance. The Zulu term ingoma (lit. ‘song’) covers a broad range of male group dances like isikhuze, isicathulo, ukukomika, isiZulu, isiBhaca, umzansi and isishameni.
The kinesic patterns of ingoma are inseparably linked to choral songs in call-and-response structure and, as such, constitute a complex statement of the unity of dance and song in Zulu performance culture. The peak of Zulu-speaking migrants' dance culture, ingoma evolved out of the profound transformation of traditional rural Zulu culture through impoverishment, dispossession and labour migration around the first World War. But on that night of January 1930, at the climax of the spectacle, the ingoma dancers struck a particularly defiant note:
Who has taken our country from us?
Who has taken it?
Come out! Let us fight!
The land was ours. Now it is taken.
We have no more freedom left in it.
Come out and fight!
The land is ours, now it is taken.
Fight! Fight!
Shame on the man who is burnt in his hut!
Come out and fight! (Perham 1974, p. 196)"
-snip-
I reformatted this brief excerpt to enhance its readability.
****
This concludes Part III of this series.
Thanks for visiting pancocojams.
Visitor comments are welcome.
This is Part III in a four part series on the South African dance forms Indoma and Indlamu. Part III provides an excerpt of a research article by Veit Erlmann on Zulu dancing.
Click http://pancocojams.blogspot.com/2015/12/real-information-about-south-african_19.html for Part I of this series. Part I provides excerpts about the traditional and the contemporary meanings of Ingoma in South Africa from Vusabantu Ngema's 2007 University of Zululand Masters of Arts dissertation "Symbolism and Implications in the Zulu dance forms: Notions of composition, performance and appreciation of dance among the Zulu".
Click http://pancocojams.blogspot.com/2015/12/real-information-about-south-african.html for Part II of this series. Part II provides excerpts about the traditional and the contemporary meanings of Ingoma in South Africa from Vusabantu Ngema's 2007 University of Zululand Masters of Arts dissertation "Symbolism and Implications in the Zulu dance forms: Notions of composition, performance and appreciation of dance among the Zulu". Particular attention in these excerpts is given to description of indlamu dances and, in particular to the dance style called "Isizingili".
Click http://pancocojams.blogspot.com/2015/12/five-videos-of-south-african-indlamu.html for Part IV of this series. Part IV provides videos of Indlamu dancing.
The content of this post is presented for folkloric, historical, cultural, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to Veit Erlmann for the information about Zulu culture that is shared online in this research article.
****
EXCERPT OF VEIT ERLMANN'S RESEARCH ARTICLE ON INGOMA
From http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=2631268">http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=2631268 http://journals.cambridge.org/action/displayAbstract?fromPage=online&aid=2631268 ‘Horses in the race course’: the domestication of ingoma dancing in South Africa, 1929–39
"On a Saturday night of January 1930 several thousand African men clad in loin cloths and the calico uniforms of domestic servants thronged a concert in the Workers' Hall of the Durban branch of the Industrial and Commercial Workers' Union (ICU) in Prince Edward Street. To the pounding sounds of hundreds of sticks, successive teams of dancers, some of them trained by Union officials from the rural hinterland, rushed to the stage performing the virile, stamping ingoma dance. The Zulu term ingoma (lit. ‘song’) covers a broad range of male group dances like isikhuze, isicathulo, ukukomika, isiZulu, isiBhaca, umzansi and isishameni.
The kinesic patterns of ingoma are inseparably linked to choral songs in call-and-response structure and, as such, constitute a complex statement of the unity of dance and song in Zulu performance culture. The peak of Zulu-speaking migrants' dance culture, ingoma evolved out of the profound transformation of traditional rural Zulu culture through impoverishment, dispossession and labour migration around the first World War. But on that night of January 1930, at the climax of the spectacle, the ingoma dancers struck a particularly defiant note:
Who has taken our country from us?
Who has taken it?
Come out! Let us fight!
The land was ours. Now it is taken.
We have no more freedom left in it.
Come out and fight!
The land is ours, now it is taken.
Fight! Fight!
Shame on the man who is burnt in his hut!
Come out and fight! (Perham 1974, p. 196)"
-snip-
I reformatted this brief excerpt to enhance its readability.
****
This concludes Part III of this series.
Thanks for visiting pancocojams.
Visitor comments are welcome.
REAL Information About South African Ingoma & Indlamu, Part II
Edited by Azizi Powell
Latest revision - July 8, 2023
This is Part II in a four part series on the South African dance forms Ingoma and Indlamu.
Part II provides excerpts about Indlamu from Vusabantu Ngema's 2007 University of Zululand Masters of Arts dissertation "Symbolism and Implications in the Zulu dance forms: Notions of composition, performance and appreciation of dance among the Zulu". Particular attention in these excerpts is given to description of indlamu dances and, in particular to the dance style called "Isizingili".
Click http://pancocojams.blogspot.com/2015/12/real-information-about-south-african_19.html for Part I of this series. Part I provides excerpts about the traditional and the contemporary meanings of Ingoma in South Africa from Vusabantu Ngema's 2007 University of Zululand Masters of Arts dissertation "Symbolism and Implications in the Zulu dance forms: Notions of composition, performance and appreciation of dance among the Zulu".
Click http://pancocojams.blogspot.com/2015/12/escerpt-about-ingoma-from-1929-1930.html for Part III of this series. Part III provides an excerpt of a research article by Veit Erlmann on Zulu dancing.
Click http://pancocojams.blogspot.com/2015/12/five-videos-of-south-african-indlamu.html for Part IV of this series. Part IV provides videos of Indlamu dancing.
The content of this post is presented for folkloric, historical, cultural, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to Vusabantu Ngema for the information about Zulu culture that is he [?] shared online in that dissertation.
In 2012 that dissertation was published in book form. Click http://www.amazon.com/Symbolism-implications-Zulu-dance-forms/dp/384732988X for information about purchasing it. Here's a summary of Vusabantu Ngema's book from that site:
"This book discusses the developments of the Zulu dance tradition from ancient times into the present. The book explores the notions of composition, performance and appreciation of dance among the Zulus. Furthermore, the book also highlights the issues of form and content through various categories under which dancing within the Zulu culture and Africa as whole are performed. The dances discussed range from ritual-ceremonial dances; recreational dances; communal dances; (modern) theatrical dances; as well as children game dances. Whilst the emphasis is on the notions of composition, performance, and appreciation; issues of how the dances are taught, rehearsed and mastered are touch upon. As such, traces of history, culture, customs and traditions are discussed as means to contextualized the dance forms discussed."
****
EDITOR'S COMMENT
Disclaimer:
This series on Ingoma and Indlamu isn't meant to present comprehensive information about these South African dance forms.
I'm merely quoting excerpts from that above mentioned online source. I'm very interested in learning about these dances from anyone else directly familiar with them. Your comments and links will be greatly appreciated.
****
EXCERPTS ABOUT INDLAMU WRITTEN BY VUSABANTU NGEMA
Note: These excerpts are quoted as they are given in that pdf file along with page numbers.
From http://uzspace.uzulu.ac.za/bitstream/handle/10530/71/Symbolism+&+Implications+in+the+Zulu+Dance+Forms+-+V+Ngema.pdf;jsessionid=28025874320FA7591F6FE1EF49FEBFED?sequence=1 [This link is no longer active in July 2023]
Indlamu is a lively dance, indulged mostly by the young, almost indicative of the surging sea or boiling water. [p. 20]...
...The third type of solo dancing among the Zulus is based on Ukusina* and is divided into two styles. The first one... is improvisational and is accompanied by singing and clapping. Here there are no particular dance patterns to followed by a dancer. But the second type (of the form of solo dancing) is used in team dancing such as Indlamu and Ingoma. In the performance of Isishamina in particular, there is always an introductory solo before the main dance routine. In most Indlamu performances these solo performances are found sometimes in the middle of performances or towards the end...[page 49]
In Isizingili, the focus is mainly on the conversation between the dancer and the drummers. The good dancer is one who can [word missing] while teasing the drummer but still manages to take the drummer along with him in a way that [page 50 begins] they both come up with well executed rhythmic patterns. There is great coordination between the dancer and drummers. The drummers should be attentive to be able to interpret the movements of the dancer precisely." [page 50]
-snip-
*Vusabantu Ngema gives the definition of Ukusina as "stamping". [page 30]
"Young girls at Ndomo also perform some form of dual dancing but they lift the knees and shake them attentively to the rhythm of the drum. This kind of performance is referred to as Indlamu or Ingadlela yezintombi and is done in an accompaniment of song and the clapping of hands by the spectators who usually stand in a circular formation. Couples (girls) take turn in the middle of the centre to perform quick movements described above. [page 51]
Chapter Four
Popular styles in Zulu Dancing
...Dance performances becomes an identity of certain communities, genders, and class. Indlamu, Isicathulo, and Cothoza have always been associated with working class. It is often performed by the migrant workers during their spare time or for inter-district competitions...
The structure of popular dances always consist of a verse and a chorus as opposed to repetitive structures found in ritualistic dances. The basic rhythm patterns and movements are canonized so as to allow everybody (dancers and audience) to follow and appreciate. The essence of [p. 61] popular dance is not the meaning of the movements but the ability to move to the beat with accuracy and style.
4.2 Types of Indlamu
4. 2.1
Indlamu is a team dance performed with the accompaniment of drums and whistles. New developments have sought the introduction of other percussion instruments such as bells, shakers, and Imbomu (wind instrument made out of plastic pipe.) The rhythmic structures associated with Indlamu are always intricate and the movements are somewhat acrobatic.
Some forms of Indlamu make use of sticks and shields hence they are referred to as war dance. The focus and direction of Indlamu dancing suggest advancing and retreating. [p. 62]
[Pancocojams' editor's note: Vusabantu Ngema provides descriptions of various types of Indlamu, including the dance style called "Isizingili".]
Isizingili is perceived less militant compared to other forms of Indlamu. The shields and sticks are also used in the performance of isizingili but the sticks are often covered with fur and the shields are very small. The way in which the sticks are carried suggest less aggression, that is, the sticks are sometimes put under the armpit or held by a left hand.
Compared to other forms of Indlamu, Isizingili is less stamping, instead its movements are more of stepping and kicking. The influence of [p.66] Isikhonde dance (pounding the earth with the knees) and the Ndau and Twa tumbling motions are evident.
Isizingili is the only form of Indlamu by the Zulu people that uses full turns and dives. The influence of the natural world of Umhlabuyalingana (flat land) also have a major influence on the nature of the movements since the major part of that area is sandy.
The performance of Isizingili is divided into two forms, that is, the team and the solo. The team dance is a series of set movements while the solo is improvisational. Team dance is formal while the solo is informal in a sense that even the members of the audience are allowed to partake. Solo dancing always occurs towards the end of the overall performance of Izizingili.
Like most forms of Indlamu, the rhythmical structure of Isizingili is in two fold, that is canonized and non-canonized rhythms. Staggered beats are also a common feature in the performance of Izisingili. Canonized patterns could be regarded as the root and identity of Isizingili dancing. Canonized rhythms are those fundamental rhythmical-patterns which help to distinguish Isizingili from other forms of Indlamu. The non-canonized are those that distinguish an individual/ team amongst other dancing teams of [p. 67] Isizingili. These rhythmical-patterns are based on fundamental aesthetics principles of form, such as variety, contrast, and sequence.
The dancers could either lead the drummers or the dancers could follow the patterns from the drummers. There is always a two-way conversation between the dancers and the drummers...
A rare dimension common only to Isizingili dancing is the movement of the pelvis. The thrusting forward and backwards of the pelvis by dancers of Isizingili suggests the sensuality of the dance. The inclusion of Ingulule (friction drum) sister drum to Ingungu which is used in rituals of sexuality, is also an addiction of sexual dimension to the performance of Isizingili. [p.68]
Latest revision - July 8, 2023
This is Part II in a four part series on the South African dance forms Ingoma and Indlamu.
Part II provides excerpts about Indlamu from Vusabantu Ngema's 2007 University of Zululand Masters of Arts dissertation "Symbolism and Implications in the Zulu dance forms: Notions of composition, performance and appreciation of dance among the Zulu". Particular attention in these excerpts is given to description of indlamu dances and, in particular to the dance style called "Isizingili".
Click http://pancocojams.blogspot.com/2015/12/real-information-about-south-african_19.html for Part I of this series. Part I provides excerpts about the traditional and the contemporary meanings of Ingoma in South Africa from Vusabantu Ngema's 2007 University of Zululand Masters of Arts dissertation "Symbolism and Implications in the Zulu dance forms: Notions of composition, performance and appreciation of dance among the Zulu".
Click http://pancocojams.blogspot.com/2015/12/escerpt-about-ingoma-from-1929-1930.html for Part III of this series. Part III provides an excerpt of a research article by Veit Erlmann on Zulu dancing.
Click http://pancocojams.blogspot.com/2015/12/five-videos-of-south-african-indlamu.html for Part IV of this series. Part IV provides videos of Indlamu dancing.
The content of this post is presented for folkloric, historical, cultural, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to Vusabantu Ngema for the information about Zulu culture that is he [?] shared online in that dissertation.
In 2012 that dissertation was published in book form. Click http://www.amazon.com/Symbolism-implications-Zulu-dance-forms/dp/384732988X for information about purchasing it. Here's a summary of Vusabantu Ngema's book from that site:
"This book discusses the developments of the Zulu dance tradition from ancient times into the present. The book explores the notions of composition, performance and appreciation of dance among the Zulus. Furthermore, the book also highlights the issues of form and content through various categories under which dancing within the Zulu culture and Africa as whole are performed. The dances discussed range from ritual-ceremonial dances; recreational dances; communal dances; (modern) theatrical dances; as well as children game dances. Whilst the emphasis is on the notions of composition, performance, and appreciation; issues of how the dances are taught, rehearsed and mastered are touch upon. As such, traces of history, culture, customs and traditions are discussed as means to contextualized the dance forms discussed."
****
EDITOR'S COMMENT
Disclaimer:
This series on Ingoma and Indlamu isn't meant to present comprehensive information about these South African dance forms.
I'm merely quoting excerpts from that above mentioned online source. I'm very interested in learning about these dances from anyone else directly familiar with them. Your comments and links will be greatly appreciated.
****
EXCERPTS ABOUT INDLAMU WRITTEN BY VUSABANTU NGEMA
Note: These excerpts are quoted as they are given in that pdf file along with page numbers.
From http://uzspace.uzulu.ac.za/bitstream/handle/10530/71/Symbolism+&+Implications+in+the+Zulu+Dance+Forms+-+V+Ngema.pdf;jsessionid=28025874320FA7591F6FE1EF49FEBFED?sequence=1 [This link is no longer active in July 2023]
Indlamu is a lively dance, indulged mostly by the young, almost indicative of the surging sea or boiling water. [p. 20]...
...The third type of solo dancing among the Zulus is based on Ukusina* and is divided into two styles. The first one... is improvisational and is accompanied by singing and clapping. Here there are no particular dance patterns to followed by a dancer. But the second type (of the form of solo dancing) is used in team dancing such as Indlamu and Ingoma. In the performance of Isishamina in particular, there is always an introductory solo before the main dance routine. In most Indlamu performances these solo performances are found sometimes in the middle of performances or towards the end...[page 49]
In Isizingili, the focus is mainly on the conversation between the dancer and the drummers. The good dancer is one who can [word missing] while teasing the drummer but still manages to take the drummer along with him in a way that [page 50 begins] they both come up with well executed rhythmic patterns. There is great coordination between the dancer and drummers. The drummers should be attentive to be able to interpret the movements of the dancer precisely." [page 50]
-snip-
*Vusabantu Ngema gives the definition of Ukusina as "stamping". [page 30]
"Young girls at Ndomo also perform some form of dual dancing but they lift the knees and shake them attentively to the rhythm of the drum. This kind of performance is referred to as Indlamu or Ingadlela yezintombi and is done in an accompaniment of song and the clapping of hands by the spectators who usually stand in a circular formation. Couples (girls) take turn in the middle of the centre to perform quick movements described above. [page 51]
Chapter Four
Popular styles in Zulu Dancing
...Dance performances becomes an identity of certain communities, genders, and class. Indlamu, Isicathulo, and Cothoza have always been associated with working class. It is often performed by the migrant workers during their spare time or for inter-district competitions...
The structure of popular dances always consist of a verse and a chorus as opposed to repetitive structures found in ritualistic dances. The basic rhythm patterns and movements are canonized so as to allow everybody (dancers and audience) to follow and appreciate. The essence of [p. 61] popular dance is not the meaning of the movements but the ability to move to the beat with accuracy and style.
4.2 Types of Indlamu
4. 2.1
Indlamu is a team dance performed with the accompaniment of drums and whistles. New developments have sought the introduction of other percussion instruments such as bells, shakers, and Imbomu (wind instrument made out of plastic pipe.) The rhythmic structures associated with Indlamu are always intricate and the movements are somewhat acrobatic.
Some forms of Indlamu make use of sticks and shields hence they are referred to as war dance. The focus and direction of Indlamu dancing suggest advancing and retreating. [p. 62]
[Pancocojams' editor's note: Vusabantu Ngema provides descriptions of various types of Indlamu, including the dance style called "Isizingili".]
Isizingili is perceived less militant compared to other forms of Indlamu. The shields and sticks are also used in the performance of isizingili but the sticks are often covered with fur and the shields are very small. The way in which the sticks are carried suggest less aggression, that is, the sticks are sometimes put under the armpit or held by a left hand.
Compared to other forms of Indlamu, Isizingili is less stamping, instead its movements are more of stepping and kicking. The influence of [p.66] Isikhonde dance (pounding the earth with the knees) and the Ndau and Twa tumbling motions are evident.
Isizingili is the only form of Indlamu by the Zulu people that uses full turns and dives. The influence of the natural world of Umhlabuyalingana (flat land) also have a major influence on the nature of the movements since the major part of that area is sandy.
The performance of Isizingili is divided into two forms, that is, the team and the solo. The team dance is a series of set movements while the solo is improvisational. Team dance is formal while the solo is informal in a sense that even the members of the audience are allowed to partake. Solo dancing always occurs towards the end of the overall performance of Izizingili.
Like most forms of Indlamu, the rhythmical structure of Isizingili is in two fold, that is canonized and non-canonized rhythms. Staggered beats are also a common feature in the performance of Izisingili. Canonized patterns could be regarded as the root and identity of Isizingili dancing. Canonized rhythms are those fundamental rhythmical-patterns which help to distinguish Isizingili from other forms of Indlamu. The non-canonized are those that distinguish an individual/ team amongst other dancing teams of [p. 67] Isizingili. These rhythmical-patterns are based on fundamental aesthetics principles of form, such as variety, contrast, and sequence.
The dancers could either lead the drummers or the dancers could follow the patterns from the drummers. There is always a two-way conversation between the dancers and the drummers...
A rare dimension common only to Isizingili dancing is the movement of the pelvis. The thrusting forward and backwards of the pelvis by dancers of Isizingili suggests the sensuality of the dance. The inclusion of Ingulule (friction drum) sister drum to Ingungu which is used in rituals of sexuality, is also an addiction of sexual dimension to the performance of Isizingili. [p.68]
-snip-
This is the end of that section about Isizingili.
****
This is the end of Part II of this series.
Thanks for visiting pancocojams.
This is the end of that section about Isizingili.
****
This is the end of Part II of this series.
Thanks for visiting pancocojams.
REAL Information About South African Ingoma & Indlamu Dances, Part I
Edited by Azizi Powell
...[page 16]
The third focal point shall be on those dances that are popular and recreational. These are the dances that are mainly for recreation and show of[f] of artistry and strength. They are dynamic and spectacular with an aim to out-shine (other competitors). They are often a reflection of some individual flare. These are the dances that are sometimes used at sporting events by young Zulu men and women. They are [p. 17] characterized by strong display of physical strength and character of an individual. They are an important avenue for release of energy.
Definition of Terms
1.7.2 Dance (Ukusina) [pages 18 - 19]
...“In Africa or among Africans dance is not just about steps and their execution instead, it is the expression that goes beyond steps, music, and song. It is the way of life, worship, and training. But AmaZulu refer to Ukusina as that kind of dancing that involves lifting the feet.
1.7.3. Ukudiga
It refers to the kind of dancing that involves the feet in pounding the ground. Ukudiga is commonly used by Izangoma.
1.7.4 Ingoma
The original term for the Zulu anthem was ingoma which referred to the royal dance song that was preferred at that first fruit festival (Umkhosi) every fruit.
...the term ingoma is now used to classify the broad category of Zulu recreational dance.
(Levine; 2005:49)
...1.7.9 Ukugiya
Ukugiya is a wild solo dance of improvisational nature. It is an improvised combination of quick stamps, strides, leaps, and jumps. [page 20]
...The movement which is almost common to all Zulu dances is Ukusina (stamping). Ukusina is central to most forms of Zulu dances that fall under the terms Indlamu and Ingoma. Another common feature of Zulu dancing is Ukugida (pounding).[page 30]
Team dances
Team dances that do not require drum accompaniment are recently being referred to as Ingoma. Although the term Ingoma has always been regarded as a general term for dancing among the Zulu people, it has emerged as term now used (particular) in competitions in order to categorize dancing activities in a much more manageable manner.
Team dances that now fall into the category of Ingoma are dances such as Isishameni, Ukhwaxa/Ubhaca of (Nomgoma and Hlabisa), Ukhwaxa/Isibhaca of (Umzimkhulu) and Isikhomazi from Umkhomazi region. The same principle of naming a dance according to a place, a people, and sometimes a basic movement is also applied on the Ingoma category. Isishameni is named after the river stream called Ushameni at KwaMiya district at Umsinga reserve (J Clegg). Isikhomazi is also named after the area around the river Umkhomazi. Ukhwaxa is named after the sound which comes as a result of the movement whereby a dancer hit the armpit with the knee before stamping the ground. [page 37]
There are other team dances that don't fall under the Indlamu and Indoma categories, for instance Isicathulo/Gumboot dance, Isikapulane/Makwaya, and Isicathamiya... [page 38]
Most of the Isicathamiya and Ingoma groups often call themselves after the name of the firm they work for (Dunlap morning birds) or the hostel they stayed in (Dalton evening stars) and the place they come from (Biyela home tigers). P. 44
The second kind (of the form of solo dancing) is found in team dancing such as Indlamu and Ingoma....”[page 49]
-snip-
*I added italics to this sentence to highlight it.
****
This concludes Part I of this series.
Thanks for visiting pancocojams.
Visitor comments are welcome.
Latest revision- July 8, 2023
This is Part I in a four part series on the South African dance forms Indlamu and Ingoma.
Part I provides excerpts about Indlamu from Vusabantu Ngema's 2007 University of Zululand Masters of Arts dissertation "Symbolism and Implications in the Zulu dance forms: Notions of composition, performance and appreciation of dance among the Zulu".
Click http://pancocojams.blogspot.com/2015/12/real-information-about-south-african.html for Part II of this series. Part II provides excerpts about the traditional and the contemporary meanings of Ingoma in South Africa from Vusabantu Ngema's 2007 University of Zululand Masters of Arts dissertation "Symbolism and Implications in the Zulu dance forms: Notions of composition, performance and appreciation of dance among the Zulu". Particular attention in these excerpts is given to description of indlamu dances and, in particular to the dance style called "Isizingili".
Click http://pancocojams.blogspot.com/2015/12/escerpt-about-ingoma-from-1929-1930.html for Part III of this series. Part III provides an excerpt of a research article by Veit Erlmann on Zulu dancing.
Click http://pancocojams.blogspot.com/2015/12/five-videos-of-south-african-indlamu.html for Part IV of this series. Part IV provides videos of Indlamu dancing.
The content of this post is presented for folkloric, historical, cultural, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to Vusabantu Ngema for the information about Zulu culture that is shared online in this dissertation/book.
****
AN ONLINE SUMMARY OF THIS BOOK
In 2012 that dissertation was published in book form. Click http://www.amazon.com/Symbolism-implications-Zulu-dance-forms/dp/384732988X for information about purchasing it. Here's a summary of Vusabantu Ngema's book from that site:
"This book discusses the developments of the Zulu dance tradition from ancient times into the present. The book explores the notions of composition, performance and appreciation of dance among the Zulus. Furthermore, the book also highlights the issues of form and content through various categories under which dancing within the Zulu culture and Africa as whole are performed. The dances discussed range from ritual-ceremonial dances; recreational dances; communal dances; (modern) theatrical dances; as well as children game dances. Whilst the emphasis is on the notions of composition, performance, and appreciation; issues of how the dances are taught, rehearsed and mastered are touch upon. As such, traces of history, culture, customs and traditions are discussed as means to contextualized the dance forms discussed."
****
PANCOCOJAMS EDITOR'S DISCLAIMER
This series on Indlamu and Ingoma are not meant to present comprehensive information about these South African dance forms.
I'm merely quoting excerpts from these online sources.
I'm very interested in learning about these dances from anyone else directly familiar with them. Your comments and links will be greatly appreciated.
****
EXCERPTS ABOUT INGOMA FROM VUSABANTU NGEMA'S DISSERTATION/BOOK
Note: These excerpts are quoted as they are given in that pdf that is cited below along with page numbers.
From http://uzspace.uzulu.ac.za/bitstream/handle/10530/71/Symbolism+&+Implications+in+the+Zulu+Dance+Forms+-+V+Ngema.pdf;jsessionid=28025874320FA7591F6FE1EF49FEBFED?sequence=1 [This link is no longer active.in July 2023]
"It [dance] is a body of history that embodies an explanation and a justification of the existence of the Zulu people and a process through which Zulu people have preserved, evolved, and transformed themselves. [page 2]
This is Part I in a four part series on the South African dance forms Indlamu and Ingoma.
Part I provides excerpts about Indlamu from Vusabantu Ngema's 2007 University of Zululand Masters of Arts dissertation "Symbolism and Implications in the Zulu dance forms: Notions of composition, performance and appreciation of dance among the Zulu".
Click http://pancocojams.blogspot.com/2015/12/real-information-about-south-african.html for Part II of this series. Part II provides excerpts about the traditional and the contemporary meanings of Ingoma in South Africa from Vusabantu Ngema's 2007 University of Zululand Masters of Arts dissertation "Symbolism and Implications in the Zulu dance forms: Notions of composition, performance and appreciation of dance among the Zulu". Particular attention in these excerpts is given to description of indlamu dances and, in particular to the dance style called "Isizingili".
Click http://pancocojams.blogspot.com/2015/12/escerpt-about-ingoma-from-1929-1930.html for Part III of this series. Part III provides an excerpt of a research article by Veit Erlmann on Zulu dancing.
Click http://pancocojams.blogspot.com/2015/12/five-videos-of-south-african-indlamu.html for Part IV of this series. Part IV provides videos of Indlamu dancing.
The content of this post is presented for folkloric, historical, cultural, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to Vusabantu Ngema for the information about Zulu culture that is shared online in this dissertation/book.
****
AN ONLINE SUMMARY OF THIS BOOK
In 2012 that dissertation was published in book form. Click http://www.amazon.com/Symbolism-implications-Zulu-dance-forms/dp/384732988X for information about purchasing it. Here's a summary of Vusabantu Ngema's book from that site:
"This book discusses the developments of the Zulu dance tradition from ancient times into the present. The book explores the notions of composition, performance and appreciation of dance among the Zulus. Furthermore, the book also highlights the issues of form and content through various categories under which dancing within the Zulu culture and Africa as whole are performed. The dances discussed range from ritual-ceremonial dances; recreational dances; communal dances; (modern) theatrical dances; as well as children game dances. Whilst the emphasis is on the notions of composition, performance, and appreciation; issues of how the dances are taught, rehearsed and mastered are touch upon. As such, traces of history, culture, customs and traditions are discussed as means to contextualized the dance forms discussed."
****
PANCOCOJAMS EDITOR'S DISCLAIMER
This series on Indlamu and Ingoma are not meant to present comprehensive information about these South African dance forms.
I'm merely quoting excerpts from these online sources.
I'm very interested in learning about these dances from anyone else directly familiar with them. Your comments and links will be greatly appreciated.
****
EXCERPTS ABOUT INGOMA FROM VUSABANTU NGEMA'S DISSERTATION/BOOK
Note: These excerpts are quoted as they are given in that pdf that is cited below along with page numbers.
From http://uzspace.uzulu.ac.za/bitstream/handle/10530/71/Symbolism+&+Implications+in+the+Zulu+Dance+Forms+-+V+Ngema.pdf;jsessionid=28025874320FA7591F6FE1EF49FEBFED?sequence=1 [This link is no longer active.in July 2023]
"It [dance] is a body of history that embodies an explanation and a justification of the existence of the Zulu people and a process through which Zulu people have preserved, evolved, and transformed themselves. [page 2]
...[page 16]
The third focal point shall be on those dances that are popular and recreational. These are the dances that are mainly for recreation and show of[f] of artistry and strength. They are dynamic and spectacular with an aim to out-shine (other competitors). They are often a reflection of some individual flare. These are the dances that are sometimes used at sporting events by young Zulu men and women. They are [p. 17] characterized by strong display of physical strength and character of an individual. They are an important avenue for release of energy.
Definition of Terms
1.7.2 Dance (Ukusina) [pages 18 - 19]
...“In Africa or among Africans dance is not just about steps and their execution instead, it is the expression that goes beyond steps, music, and song. It is the way of life, worship, and training. But AmaZulu refer to Ukusina as that kind of dancing that involves lifting the feet.
1.7.3. Ukudiga
It refers to the kind of dancing that involves the feet in pounding the ground. Ukudiga is commonly used by Izangoma.
1.7.4 Ingoma
The original term for the Zulu anthem was ingoma which referred to the royal dance song that was preferred at that first fruit festival (Umkhosi) every fruit.
...the term ingoma is now used to classify the broad category of Zulu recreational dance.
(Levine; 2005:49)
...1.7.9 Ukugiya
Ukugiya is a wild solo dance of improvisational nature. It is an improvised combination of quick stamps, strides, leaps, and jumps. [page 20]
...The movement which is almost common to all Zulu dances is Ukusina (stamping). Ukusina is central to most forms of Zulu dances that fall under the terms Indlamu and Ingoma. Another common feature of Zulu dancing is Ukugida (pounding).[page 30]
Team dances
Team dances that do not require drum accompaniment are recently being referred to as Ingoma. Although the term Ingoma has always been regarded as a general term for dancing among the Zulu people, it has emerged as term now used (particular) in competitions in order to categorize dancing activities in a much more manageable manner.
Team dances that now fall into the category of Ingoma are dances such as Isishameni, Ukhwaxa/Ubhaca of (Nomgoma and Hlabisa), Ukhwaxa/Isibhaca of (Umzimkhulu) and Isikhomazi from Umkhomazi region. The same principle of naming a dance according to a place, a people, and sometimes a basic movement is also applied on the Ingoma category. Isishameni is named after the river stream called Ushameni at KwaMiya district at Umsinga reserve (J Clegg). Isikhomazi is also named after the area around the river Umkhomazi. Ukhwaxa is named after the sound which comes as a result of the movement whereby a dancer hit the armpit with the knee before stamping the ground. [page 37]
There are other team dances that don't fall under the Indlamu and Indoma categories, for instance Isicathulo/Gumboot dance, Isikapulane/Makwaya, and Isicathamiya... [page 38]
Most of the Isicathamiya and Ingoma groups often call themselves after the name of the firm they work for (Dunlap morning birds) or the hostel they stayed in (Dalton evening stars) and the place they come from (Biyela home tigers). P. 44
The second kind (of the form of solo dancing) is found in team dancing such as Indlamu and Ingoma....”[page 49]
-snip-
*I added italics to this sentence to highlight it.
****
This concludes Part I of this series.
Thanks for visiting pancocojams.
Visitor comments are welcome.
Thursday, December 17, 2015
South African Singer Thandiswa Mazwai - "Ingoma" ("A Song") , with English lyrics
Edited by Azizi Powell
This post is part of an ongoing pancocojams series on the African words "ngoma" and "ingoma".
This post showcases the contemporary South African love song "Ingoma" by Thandiswa Mazwai. "Ingoma means "song" in the Xhosa and Zulu languages. "Ingoma" is also used to classify the broad category of Zulu recreational dance.
The content of this post is presented for cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to the composer/s of this song and thanks to Thandiswa for her vocals, and thanks to all others who are featured in this recording, with special thanks to Hugh Masekela for the trumpet solo towards the end of this song. Thanks also to all those who are quoted in this post and thanks to the publisher of this sound file on YouTube. Thanks also to the onscreen transcriber of this song (as found in Example #2 below). I'm not sure if that is the same person as the publisher of this song file on YouTube.
****
SHOWCASE EXAMPLES:
Example #1:Thandiswa - Ingoma
African Jukebox Uploaded on Apr 5, 2009
Track from Thandiswa's newly released album, Ibokwe
-snip-
Here are two comments from this sound file's discussion thread:
Gilbert Onwu, 2014
"I love this beautiful song, wonderfully and exceptionally rendered by the amazing Thandiswa. One of my three most favoured SA artists. Thandiswa's range of voice is absolutely unbelievable as she caresses the song if I may put it that way. She comes across as a highly articulate and intelligent person,- I listened to her on more than one occasion on TV,- with a warm and endearing personality. I simply love the song. How I wish I could get an English translation! Gilbert Okeanonife Onwu"
**
Vanessa D Sefatsa, 2014
"this is an African love song...loosely translated, she is comparing him to a song (ingoma), how addictive he is resembles a tune that will not leave her mind after she has played it the whole night. She then asks how she will be able to live without him, and says that she does not care what others say...he is like a song to her."
****
Example #2: Thandiswa Mazwai - ingoma (a song) english lyrics
rockypart12345, Published on Oct 31, 2013
South Africa's finest female contemporary singer, multi award winning vocalist, song writer and producer. Her music is often deeply political and her compositions include traditional Xhosa rhythms, Mbaqanga, reggae, kwaito and funk and jazz sounds.
This track is from her second Album Ibokwe, its sung in Xhosa and English "ngoma" which means a song, enjoy!
-snip-
Click https://en.wikipedia.org/wiki/Thandiswa_Mazwai for a biography of Thandiswa Mazwai.
****
LYRICS NOTES
The lyrics in this post are largely from the onscreen text that is given in the sound file that is featured as Example #2 above. However, I took the liberty to correct some spelling ("your" corrected to "you're" and "rousing" to arousing"). I also corrected a word that may have been a typo ("gut" to "got").
I changed the word "felt" to "feel" because the present tense seems to fit the song better than the past tense. That changed tense is given in italics.
I added the word "a" to a line because I felt that it enhanced the meaning of that line. I also added words to the end of another line which be unsung but still understood. Those added words are given in brackets.
Significantly, I changed "will" to "would" in the line that appears onscreen as "What will I do without you?" I made that change because I believe that "would" fits the song better than "will".
****
LYRICS: INGOMA
(as recorded by Thandiswa Mazwai)
You’re like a song that enthralls me throughout the night.
What will I do without you?
You’re a song.
I don’t care about the matters of this world.
Who says what.
I couldn’t care any less
Ooh I love my babe.
He’s like a song that enthralls me
Throughout the night.
What would I do without you?
You’re a song.
Sweetie, you’re [a] song to me.
Anytime of the day
Any day of the week
Any day of the year
Ooh you are arousing babe.
You’re a song that enthralls me
Throughout the night.
What would I do without you?
You’re a song.
You’re music to me, my beloved.
A relentless song
that never bores me to sleep.
A song I love anytime.
Song, you got into me
And made my body your home.
I feel you deep inside me.
Deep inside me.
Ooh you damn song
You’ve captured me and I’m reformed.
I can never feel anything like this [without you]
Ooh, my beloved, you’re a song.
A song that lives within my body.
A pleasing song.
A song that doesn’t get old.
A song that doesn’t get old.
You’re a song.
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This post is part of an ongoing pancocojams series on the African words "ngoma" and "ingoma".
This post showcases the contemporary South African love song "Ingoma" by Thandiswa Mazwai. "Ingoma means "song" in the Xhosa and Zulu languages. "Ingoma" is also used to classify the broad category of Zulu recreational dance.
The content of this post is presented for cultural, entertainment, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to the composer/s of this song and thanks to Thandiswa for her vocals, and thanks to all others who are featured in this recording, with special thanks to Hugh Masekela for the trumpet solo towards the end of this song. Thanks also to all those who are quoted in this post and thanks to the publisher of this sound file on YouTube. Thanks also to the onscreen transcriber of this song (as found in Example #2 below). I'm not sure if that is the same person as the publisher of this song file on YouTube.
****
SHOWCASE EXAMPLES:
Example #1:Thandiswa - Ingoma
African Jukebox Uploaded on Apr 5, 2009
Track from Thandiswa's newly released album, Ibokwe
-snip-
Here are two comments from this sound file's discussion thread:
Gilbert Onwu, 2014
"I love this beautiful song, wonderfully and exceptionally rendered by the amazing Thandiswa. One of my three most favoured SA artists. Thandiswa's range of voice is absolutely unbelievable as she caresses the song if I may put it that way. She comes across as a highly articulate and intelligent person,- I listened to her on more than one occasion on TV,- with a warm and endearing personality. I simply love the song. How I wish I could get an English translation! Gilbert Okeanonife Onwu"
**
Vanessa D Sefatsa, 2014
"this is an African love song...loosely translated, she is comparing him to a song (ingoma), how addictive he is resembles a tune that will not leave her mind after she has played it the whole night. She then asks how she will be able to live without him, and says that she does not care what others say...he is like a song to her."
****
Example #2: Thandiswa Mazwai - ingoma (a song) english lyrics
rockypart12345, Published on Oct 31, 2013
South Africa's finest female contemporary singer, multi award winning vocalist, song writer and producer. Her music is often deeply political and her compositions include traditional Xhosa rhythms, Mbaqanga, reggae, kwaito and funk and jazz sounds.
This track is from her second Album Ibokwe, its sung in Xhosa and English "ngoma" which means a song, enjoy!
-snip-
Click https://en.wikipedia.org/wiki/Thandiswa_Mazwai for a biography of Thandiswa Mazwai.
****
LYRICS NOTES
The lyrics in this post are largely from the onscreen text that is given in the sound file that is featured as Example #2 above. However, I took the liberty to correct some spelling ("your" corrected to "you're" and "rousing" to arousing"). I also corrected a word that may have been a typo ("gut" to "got").
I changed the word "felt" to "feel" because the present tense seems to fit the song better than the past tense. That changed tense is given in italics.
I added the word "a" to a line because I felt that it enhanced the meaning of that line. I also added words to the end of another line which be unsung but still understood. Those added words are given in brackets.
Significantly, I changed "will" to "would" in the line that appears onscreen as "What will I do without you?" I made that change because I believe that "would" fits the song better than "will".
****
LYRICS: INGOMA
(as recorded by Thandiswa Mazwai)
You’re like a song that enthralls me throughout the night.
What will I do without you?
You’re a song.
I don’t care about the matters of this world.
Who says what.
I couldn’t care any less
Ooh I love my babe.
He’s like a song that enthralls me
Throughout the night.
What would I do without you?
You’re a song.
Sweetie, you’re [a] song to me.
Anytime of the day
Any day of the week
Any day of the year
Ooh you are arousing babe.
You’re a song that enthralls me
Throughout the night.
What would I do without you?
You’re a song.
You’re music to me, my beloved.
A relentless song
that never bores me to sleep.
A song I love anytime.
Song, you got into me
And made my body your home.
I feel you deep inside me.
Deep inside me.
Ooh you damn song
You’ve captured me and I’m reformed.
I can never feel anything like this [without you]
Ooh, my beloved, you’re a song.
A song that lives within my body.
A pleasing song.
A song that doesn’t get old.
A song that doesn’t get old.
You’re a song.
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Tuesday, December 15, 2015
The Wailers (Peter Tosh lead singer) - "Go Tell It On The Mountain" (with lyrics)
Edited by Azizi Powell
This is Part IV of a four part series about the song "Go Tell It On The Mountain". Part IV showcases a 1969 Reggae version of "Go Tell It On The Mountain" that is performed by the Wailers.
Click http://pancocojams.blogspot.com/2015/12/early-lyrics-for-christmas-song-go-tell.html for Part I of this series. Part I provides information and comments about and lyric examples for early versions of the song "Go Tell It On The Mountain".
Click http://pancocojams.blogspot.com/2015/12/three-examples-of-mahalia-jackson.html for Part II of this series.
Click http://pancocojams.blogspot.com/2015/12/freedom-civil-rights-adaptations-of-go.html for Part III of this series. Part III provides information and comments about freedom (civil rights) adaptations of "Go Tell It On The Mountain". Lyrics and sound file examples of those adaptations are also included in that post.
The content of this post is presented for folkloric, historical, cultural, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to the composer/s of the freedom (civil rights) adaptations of "Go Tell It On The Mountain" and thanks to the Wailers for their recording of this song. Thanks also to all those who are quoted in this post and thanks to the publisher of this sound file on YouTube.
****
SHOWCASE EXAMPLE: Go tell it on the Mountain- Peter Tosh (& The Wailers)
Tonesullock Uploaded on Jun 26, 2007
A traditional recording of "Go tell it on the Mountain" by Peter Tosh/ The Wailers/ Bob Marley & The Wailers or whomsoever it may be. Tosh singing lead.
-snip-
Here are two selected comments from this sound file's discussion thread:
BiblicalRastafari, 2009
"This song was recorded and performed by the original Wailers.
However, as is the case with the song Downpressorman, Peter Tosh takes over lead vocals.
Bob Marley and Peter Tosh along with Bunny Livingston all had their songs, it just so happens that Bob really took ahold of the band and the singing/songwriting.
Dont get mad brotherman
Get glad
Now Go and Tell It on the Mountain
Zion Reigns
Rastafari"
**
roflpopz1, 2009
"Its from the Peter Tosh & Friends Album, Black Dignity, and its indeed Peter Tosh & the wailers, i have exact the same recording =)"
****
LYRICS: GO TELL IT ON THE MOUNTAIN
(The Wailers, lead singer Peter Tosh)
Go tell it on the mountain
Over the hills and everywhere
Go tell it on the mountain
To set my people free
Who's there yonder dressed in red
Set my people free
Who's there yonder dressed in red
Set my people free
Who's that yonder dressed in red
Must be the children that Moses led
Go tell it on the mountain
To set my people free
Go tell it on the mountain
Over the hills and everywhere
Go tell it on the mountain
To set my people free
Who's there yonder dressed in white
Set my people free
Who's there yonder full dressed in white
Set my people free
Who's there yonder dressed in white
Must be the children of the Israelites
Go tell it on the mountain
To set my people free
Mmm mmm mmm mmm
Who's there yonder dressed in white
Set my people free
Who's there yonder dressed in white
Set my people free
Who's there yonder dressed in white
Must be the children of the Israelites
Go tell it on the mountain
To set my people free
Source: https://www.justsomelyrics.com/213063/bob-marley-go-tell-it-on-the-mountain-lyrics.html
-snip-
Here's a brief statement about the Wailers' recording of "Go Tell It On The Mountain" from http://www.furious.com/perfect/petertosh.html
"...by early 1969, the Wailers were recording for Leslie Kong. Peter Tosh contributed three numbers: a remake of "Can't You See", "Stop That Train" and a version of "Go Tell It On The Mountain," which shows again Tosh's love of spirituals. On that recording, his voice is loud and clear and his tenor soars effortlessly over the musical backing."
-snip-
The Wailers' recording of "Go Tell It On The Mountain" is a cover of American recordings that adapted that Spiritual (or early Gospel) song for civil rights/protest purposes. Those freedom (civil rights) versions of "Go Tell It On The Mountain" were first performed in the early 1960s by either African American civil rights activist Fannie Lou Hamer or by American folk singers Peter, Paul, and Mary. There's some uncertainty as to who composed this adaptation of that early Gospel song. Frannie Lou Hamer's versions of "Go Tell It On The Mountain" and Peter Paul and Mary's version borrow heavily from the older African American Spiritual "Wade In The Water".
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This is Part IV of a four part series about the song "Go Tell It On The Mountain". Part IV showcases a 1969 Reggae version of "Go Tell It On The Mountain" that is performed by the Wailers.
Click http://pancocojams.blogspot.com/2015/12/early-lyrics-for-christmas-song-go-tell.html for Part I of this series. Part I provides information and comments about and lyric examples for early versions of the song "Go Tell It On The Mountain".
Click http://pancocojams.blogspot.com/2015/12/three-examples-of-mahalia-jackson.html for Part II of this series.
Click http://pancocojams.blogspot.com/2015/12/freedom-civil-rights-adaptations-of-go.html for Part III of this series. Part III provides information and comments about freedom (civil rights) adaptations of "Go Tell It On The Mountain". Lyrics and sound file examples of those adaptations are also included in that post.
The content of this post is presented for folkloric, historical, cultural, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to the composer/s of the freedom (civil rights) adaptations of "Go Tell It On The Mountain" and thanks to the Wailers for their recording of this song. Thanks also to all those who are quoted in this post and thanks to the publisher of this sound file on YouTube.
****
SHOWCASE EXAMPLE: Go tell it on the Mountain- Peter Tosh (& The Wailers)
Tonesullock Uploaded on Jun 26, 2007
A traditional recording of "Go tell it on the Mountain" by Peter Tosh/ The Wailers/ Bob Marley & The Wailers or whomsoever it may be. Tosh singing lead.
-snip-
Here are two selected comments from this sound file's discussion thread:
BiblicalRastafari, 2009
"This song was recorded and performed by the original Wailers.
However, as is the case with the song Downpressorman, Peter Tosh takes over lead vocals.
Bob Marley and Peter Tosh along with Bunny Livingston all had their songs, it just so happens that Bob really took ahold of the band and the singing/songwriting.
Dont get mad brotherman
Get glad
Now Go and Tell It on the Mountain
Zion Reigns
Rastafari"
**
roflpopz1, 2009
"Its from the Peter Tosh & Friends Album, Black Dignity, and its indeed Peter Tosh & the wailers, i have exact the same recording =)"
****
LYRICS: GO TELL IT ON THE MOUNTAIN
(The Wailers, lead singer Peter Tosh)
Go tell it on the mountain
Over the hills and everywhere
Go tell it on the mountain
To set my people free
Who's there yonder dressed in red
Set my people free
Who's there yonder dressed in red
Set my people free
Who's that yonder dressed in red
Must be the children that Moses led
Go tell it on the mountain
To set my people free
Go tell it on the mountain
Over the hills and everywhere
Go tell it on the mountain
To set my people free
Who's there yonder dressed in white
Set my people free
Who's there yonder full dressed in white
Set my people free
Who's there yonder dressed in white
Must be the children of the Israelites
Go tell it on the mountain
To set my people free
Mmm mmm mmm mmm
Who's there yonder dressed in white
Set my people free
Who's there yonder dressed in white
Set my people free
Who's there yonder dressed in white
Must be the children of the Israelites
Go tell it on the mountain
To set my people free
Source: https://www.justsomelyrics.com/213063/bob-marley-go-tell-it-on-the-mountain-lyrics.html
-snip-
Here's a brief statement about the Wailers' recording of "Go Tell It On The Mountain" from http://www.furious.com/perfect/petertosh.html
"...by early 1969, the Wailers were recording for Leslie Kong. Peter Tosh contributed three numbers: a remake of "Can't You See", "Stop That Train" and a version of "Go Tell It On The Mountain," which shows again Tosh's love of spirituals. On that recording, his voice is loud and clear and his tenor soars effortlessly over the musical backing."
-snip-
The Wailers' recording of "Go Tell It On The Mountain" is a cover of American recordings that adapted that Spiritual (or early Gospel) song for civil rights/protest purposes. Those freedom (civil rights) versions of "Go Tell It On The Mountain" were first performed in the early 1960s by either African American civil rights activist Fannie Lou Hamer or by American folk singers Peter, Paul, and Mary. There's some uncertainty as to who composed this adaptation of that early Gospel song. Frannie Lou Hamer's versions of "Go Tell It On The Mountain" and Peter Paul and Mary's version borrow heavily from the older African American Spiritual "Wade In The Water".
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Freedom (Civil Rights) Adaptations Of "Go Tell It On The Mountain" (United States)
Edited by Azizi Powell
This is Part III of a four part series about the song "Go Tell It On The Mountain". Part III provides information and comments about freedom (civil rights) adaptations of "Go Tell It On The Mountain" (United States). Lyrics and two YouTube examples of those adaptations are also included in this post.
Click http://pancocojams.blogspot.com/2015/12/early-lyrics-for-christmas-song-go-tell.html for Part I of this series. Part I provides information and comments about and lyric examples for early versions of the song "Go Tell It On The Mountain".
Click http://pancocojams.blogspot.com/2015/12/three-examples-of-mahalia-jackson.html for Part II of this series.
Click http://pancocojams.blogspot.com/2015/12/the-wailers-peter-tosh-lead-singer-go.html for Part IV of this series. Part IV showcases a 1969 Reggae version of "Go Tell It On The Mountain" that is performed by the Wailers.
The content of this post is presented for folkloric, historical, cultural, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to the composer/s of the freedom (civil rights) adaptations of "Go Tell It On The Mountain" and thanks to all the performers of the freedom (civil rights) adaptations of that song who are showcased on this page. Thanks also to all those who are quoted in this post and thanks to the publishers of these examples on YouTube.
****
WHO WAS THE FIRST TO COMPOSE AND PERFORM A FREEDOM (CIVIL RIGHTS) VERSION OF "GO TELL IT ON THE MOUNTAIN"?
Contrary to some online articles and comments that state without reservation that the Anglo- American folk singers Peter, Paul, and Mary were the composers and earliest performers of a freedom (civil rights) adaptation of "Go Tell It On The Mountain", the composer and earliest performer of a freedom (civil rights) version of that song may have been African American civil rights activist Fannie Lou Hamer. Here's information about Peter, Paul, and Mary from https://en.wikipedia.org/wiki/Peter,_Paul_and_Mary:
"Peter, Paul and Mary were an American folk-singing trio whose nearly 50-year career began with their rise to become a paradigm for 1960s folk music. The trio was composed of folk songwriter Peter Yarrow, (Noel) Paul Stookey and Mary Travers. After the death of Travers in 2009, Yarrow and Stookey continued to perform as a duo under their individual names.[1]"
Here's information about Fannie Lou Hamer from https://en.wikipedia.org/wiki/Fannie_Lou_Hamer
"Fannie Lou Hamer... born Fannie Lou Townsend; October 6, 1917 – March 14, 1977) was an American voting rights activist, civil rights leader, and philanthropist. She was instrumental in organizing Mississippi's Freedom Summer for the Student Nonviolent Coordinating Committee (SNCC), and later became the vice-chair of the Mississippi Freedom Democratic Party, which she represented at the 1964 Democratic National Convention in Atlantic City, New Jersey."...
****
FREEDOM (CIVIL RIGHTS) ADAPTATIONS OF "GO TELL IT ON THE MOUNTAIN" (UNITED STATES) -INFORMATION, COMMENTS, LYRICS
From http://mudcat.org/@displaysong.cfm?SongID=2309
GO TELL IT ON THE MOUNTAIN (2)
Cho: Go tell it on the mountain,
Over the hill and everywhere
Go tell it on the mountain
To let my people go.
Who's that yonder dressed in red?
(Let my people go)
Must be the children that Moses led.
(let my people go)
Chorus
(repeat the whole thing using:)
Who's that yonder dressed in white?
Must be the children of the Israelite.
Who's that yonder dressed in black?
Must be the hypocrites turning back.
-snip-
"Go Tell It On The Mountain" (1) is a Christmas version. The lyrics for "Go Tell It On The Mountain" (2) are attributed to Fannie Lou Hamer in the Mudcat discussion thread whose link is given below, although the notation on that page erroneously refers to this song as a Spiritual.
**
From http://mudcat.org/thread.cfm?threadid=3744">http://mudcat.org/thread.cfm?threadid=3744
posted by Joe Offer 17 Jan 98 - 03:37 AM
..."Here are some verses added for civil rights marches:
Who's that yonder dressed in red...
Must be the children Bob Moses led
...black...Uncle Toms turning back.
...blue....Registrars coming through.
And an alternate for another part:
You know I would not be Governor Wallace*
I'll tell you the reason why,
I'd be afraid my Lord might call me
And I would not be ready to die.
Halleluia.
(*Mayor Boutwell, Barry Goldwater, the segregationists, etc.)
CHORUS:
Go tell it on the mountain,
Over the hills and everywhere,
Go tell it on the mountain,
To let my people go.
-or-
CHORUS:
Go tell it on the mountain,
Over the hills and everywhere,
Go tell it on the mountain,
That freedom is coming soon.
(as sung by Fannie Lou Hamer at the State Convention of the Mississippi Democratic Party - date not shown)
Source: Sing for Freedom: The Story of the Civil Rights Movement and Its Songs, edited and compiled by Guy and Candie Carawan (©Sing Out Corporation, 1960, 1990, 1992)
****
posted by Bill D, 18 Jan 98 - 12:32 PM
"Thanksgiving week of 1964, I was in Hattiesburg, Miss., with a group of 'outside agitators' from Kansas who were assisting on a voter registration drive. Part of this job consisted of picketing the courthouse during business hours....round & round a little 3 cornered walk in front, totally bored except for the occasional local who decided to use someone in line to test his spitting aim.
On about day 3 I was there, after about 2 hours, a young black girl directly in front of me in line(I guess she was about 14) just suddenly began slowly singing "Go Tell it on the Mountain" in an absolutely beautiful contralto! Of course, in 15 seconds, we were all singing, and I have never heard the power of song more wonderfully used! We sang the "red...black...etc". version, but in the old church mode and speed.....well, we sang about 4 1/2 verses before the sheriff appeared and told us in no uncertain terms that we "had a permit for walkin'...not no damn permit for singin'".. and that if we didn't shut up, we would all be arrrested. So, we shrugged and just marched....but that song was in everyones head all day and we had made the point and one more step. (Last I heard, Hattiesburg had a black mayor....)"...
**
posted by Joe Offer, 22 Nov 08 - 04:58 PM
..."Here's the Traditional Ballad Index entry on this song:
[entries for Christmas versions of "Go Tell It On The Mountain"]
... Go Tell It on the Mountain (II -- Freedom)
DESCRIPTION: "Go tell it on the mountain, Over the hills and everywhere, Go tell it on the mountain To let my people go." The singer describes the people, clothed in various colors, coming out of bondage
AUTHOR: unknown
EARLIEST DATE: 1963 (recorded by Fannie Lou Hamer)
KEYWORDS: religious freedom nonballad travel
FOUND IN: US Jamaica
REFERENCES (1 citation):
DT, GOTELMT2
Roud #15220
CROSS-REFERENCES:
cf. "Go Tell It on the Mountain (I -- Christmas)"
cf. "Jesus Setta Me Free" (lyrics)
Notes: The "freedom" adaptation of "Go Tell It on the Mountain" came out of the civil rights movement of the early 1960s. I list "Jamaica" as a location in the "FOUND IN" field because this version was recorded by Bob Marley long before he became an internationally-known star, when reggae was still arguably an indigenous folk style. Does this qualify within the "folk tradition"? Eyes of the beholder, perhaps, but I wanted the fact noted. - PJS"
**
posted by Joe Offer, 22 Nov 08 - 07:12 PM
"OK, so here's another Fannie Lou Hamer version. Did she take it from PP&M, or vice-versa?
GO TELL IT ON THE MOUNTAIN
Led by Fannie Lou Hamer, recorded in Greenwood, Mississippi
(Fall, 1963)
Chorus:
Go tell it on the mountain,
Over the hills, and everywhere.
Go tell it on the mountain
To let my people go.
Paul and Silas bound in jail.
Let my people go.
Had nobody for to go their bail.
Let my people go.
(Chorus)
Paul and Silas began to shout,
Let my people go.
Jail door opened, and they walked out.
Let my people go.
(Chorus)
Who's that yonder dressed in red?
Let my people go.
Must be the children that Moses led.
Let my people go.
(Chorus)
Who's that yonder dressed in black?
Let my people go.
Must be the hypocrites turning back.
Let my people go.
(Chorus)
I had a little book, he gave to me,
Let my people go.
And every page spelled victory.
Let my people go.
(Chorus - twice)
The Hamer recording may be found on the Smithsonian/Folkways CD, Voices of the Civil Rights Movement Black American Freedom Songs 1960-1966."
**
posted by Q, 30 Nov 08 - 08:55 PM
"The Paul and Silas verses used by Hamer are known in several forms in older spirituals. Here is part of a spiritual sung by Rebecca Taylor for Carl Sandburg and included in his 1927 "American Songbag:
ALL NIGHT LONG
1
Paul and Silas, bound in jail,
All night long.
One for to sing an' de other foh to pray,
All night long.
One for to sing an' de othah foh to pray,
All night long.
Do, Lawd, delibah po' me!
(two more verses; pp. 448-449, with musical score.)
The Stanley Bros. sang "Paul and Silas;" the first verse:
Paul and Silas bound in jail all night long, (3x)
Saying who shall deliver for me.
Hamer combined the Paul and Silas lines with lines from "Go down, Moses;" 'Let my people go,' etc. is from old spirituals.
I think search will show Hamer's lines and verses mostly are floaters used in several spirituals. The 'combination' might be new, but little else
****
SHOWCASE EXAMPLES WITH LYRICS
These examples are presented in chronological order based on their publishing date on YouTube with the examples with the oldest date given first.
Example #1:
"Tell it on the Mountain" Peter, Paul and Mary
catman916, Uploaded on Aug 5, 2010
One of my favorite folk songs from the 1960s, "Tell It on the Mountain," was adapted and rewritten by Peter Yarrow, Paul Stookey, and Mary Travers from the 19th Century African-American spiritual, "Go Tell It on the Mountain." The song was included in the 1963 Warner Bros album, In the Wind and was released as a single reaching #33 on the US pop chart in 1964. The lyrics truly reflect on the era. I do not own the right to the song, audio, or images contained in this video. The sound recording is administered by WMG. No copyright infringement is intended. The purpose of this upload is for viewer enjoyment and education not for monetary gain.
-snip-
Lyrics:
Go tell it on the mountain, over the hill and everywhere
Go tell it on the mountain, to let My people go
Who's that yonder dressed in red, let My people go
Must be the children that Moses led, let My people go
Who's that yonder dressed in red
Must be the children that Moses led
Go tell it on the mountain, to let My people go
Go tell it on the mountain, over the hill and everywhere
Go tell it on the mountain, to let My people go
Who's that yonder dressed in white, let My people go
Must be the children of the Israelite, let My people go
Who's that yonder dressed in white
Must be the children of the Israelite
Go tell it on the mountain, to let My people go
Go tell it on the mountain, over the hill and everywhere
Go tell it on the mountain, to let My people go
Who's that yonder dressed in black, let My people go
Must be the hypocrites turnin' back, let My people go
Who's that yonder dressed in black
Must be the hypocrites turnin' back
Go tell it on the mountain, over the hill and everywhere
Go tell it on the mountain, to let My people go
From http://www.metrolyrics.com/tell-it-on-the-mountain-lyrics-peter-paul-mary.html
That website includes a notation that Peter Stookey, Noel Paul, Mary Travers, and Milton T. Okun are the songwriters of this version of "Go Tell It On The Mountain".
Read the comment by Q given above in the information & comment section about how Fannie Lou Hamer's version of 'Go Tell It On The Mountain' "combined the Paul and Silas lines with lines from "Go down, Moses;" 'Let my people go,' etc. is from old spirituals. The same can be said of the Peter, Paul, and Mary version of that song. Peter, Paul, and Mary's adaptation of "Go Tell It On The Mountain" borrows heavily from the African American Spiritual "Wade In The Water". That Spiritual contains the "whose that yonder dressed in white" (or other colors) lyrics and the lyrics "let my people go".
****
Example #2: Go Tell It On The Mountain - by Fannie Lou Hamer
MyoclonicSlug, Uploaded on Feb 5, 2012
-snip-
Read the information and comment section above for the lyrics for Fannie Lou Hamer's recording of "Go Tell It On The Mountain".
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
This is Part III of a four part series about the song "Go Tell It On The Mountain". Part III provides information and comments about freedom (civil rights) adaptations of "Go Tell It On The Mountain" (United States). Lyrics and two YouTube examples of those adaptations are also included in this post.
Click http://pancocojams.blogspot.com/2015/12/early-lyrics-for-christmas-song-go-tell.html for Part I of this series. Part I provides information and comments about and lyric examples for early versions of the song "Go Tell It On The Mountain".
Click http://pancocojams.blogspot.com/2015/12/three-examples-of-mahalia-jackson.html for Part II of this series.
Click http://pancocojams.blogspot.com/2015/12/the-wailers-peter-tosh-lead-singer-go.html for Part IV of this series. Part IV showcases a 1969 Reggae version of "Go Tell It On The Mountain" that is performed by the Wailers.
The content of this post is presented for folkloric, historical, cultural, and aesthetic purposes.
All copyrights remain with their owners.
Thanks to the composer/s of the freedom (civil rights) adaptations of "Go Tell It On The Mountain" and thanks to all the performers of the freedom (civil rights) adaptations of that song who are showcased on this page. Thanks also to all those who are quoted in this post and thanks to the publishers of these examples on YouTube.
****
WHO WAS THE FIRST TO COMPOSE AND PERFORM A FREEDOM (CIVIL RIGHTS) VERSION OF "GO TELL IT ON THE MOUNTAIN"?
Contrary to some online articles and comments that state without reservation that the Anglo- American folk singers Peter, Paul, and Mary were the composers and earliest performers of a freedom (civil rights) adaptation of "Go Tell It On The Mountain", the composer and earliest performer of a freedom (civil rights) version of that song may have been African American civil rights activist Fannie Lou Hamer. Here's information about Peter, Paul, and Mary from https://en.wikipedia.org/wiki/Peter,_Paul_and_Mary:
"Peter, Paul and Mary were an American folk-singing trio whose nearly 50-year career began with their rise to become a paradigm for 1960s folk music. The trio was composed of folk songwriter Peter Yarrow, (Noel) Paul Stookey and Mary Travers. After the death of Travers in 2009, Yarrow and Stookey continued to perform as a duo under their individual names.[1]"
Here's information about Fannie Lou Hamer from https://en.wikipedia.org/wiki/Fannie_Lou_Hamer
"Fannie Lou Hamer... born Fannie Lou Townsend; October 6, 1917 – March 14, 1977) was an American voting rights activist, civil rights leader, and philanthropist. She was instrumental in organizing Mississippi's Freedom Summer for the Student Nonviolent Coordinating Committee (SNCC), and later became the vice-chair of the Mississippi Freedom Democratic Party, which she represented at the 1964 Democratic National Convention in Atlantic City, New Jersey."...
****
FREEDOM (CIVIL RIGHTS) ADAPTATIONS OF "GO TELL IT ON THE MOUNTAIN" (UNITED STATES) -INFORMATION, COMMENTS, LYRICS
From http://mudcat.org/@displaysong.cfm?SongID=2309
GO TELL IT ON THE MOUNTAIN (2)
Cho: Go tell it on the mountain,
Over the hill and everywhere
Go tell it on the mountain
To let my people go.
Who's that yonder dressed in red?
(Let my people go)
Must be the children that Moses led.
(let my people go)
Chorus
(repeat the whole thing using:)
Who's that yonder dressed in white?
Must be the children of the Israelite.
Who's that yonder dressed in black?
Must be the hypocrites turning back.
-snip-
"Go Tell It On The Mountain" (1) is a Christmas version. The lyrics for "Go Tell It On The Mountain" (2) are attributed to Fannie Lou Hamer in the Mudcat discussion thread whose link is given below, although the notation on that page erroneously refers to this song as a Spiritual.
**
From http://mudcat.org/thread.cfm?threadid=3744">http://mudcat.org/thread.cfm?threadid=3744
posted by Joe Offer 17 Jan 98 - 03:37 AM
..."Here are some verses added for civil rights marches:
Who's that yonder dressed in red...
Must be the children Bob Moses led
...black...Uncle Toms turning back.
...blue....Registrars coming through.
And an alternate for another part:
You know I would not be Governor Wallace*
I'll tell you the reason why,
I'd be afraid my Lord might call me
And I would not be ready to die.
Halleluia.
(*Mayor Boutwell, Barry Goldwater, the segregationists, etc.)
CHORUS:
Go tell it on the mountain,
Over the hills and everywhere,
Go tell it on the mountain,
To let my people go.
-or-
CHORUS:
Go tell it on the mountain,
Over the hills and everywhere,
Go tell it on the mountain,
That freedom is coming soon.
(as sung by Fannie Lou Hamer at the State Convention of the Mississippi Democratic Party - date not shown)
Source: Sing for Freedom: The Story of the Civil Rights Movement and Its Songs, edited and compiled by Guy and Candie Carawan (©Sing Out Corporation, 1960, 1990, 1992)
****
posted by Bill D, 18 Jan 98 - 12:32 PM
"Thanksgiving week of 1964, I was in Hattiesburg, Miss., with a group of 'outside agitators' from Kansas who were assisting on a voter registration drive. Part of this job consisted of picketing the courthouse during business hours....round & round a little 3 cornered walk in front, totally bored except for the occasional local who decided to use someone in line to test his spitting aim.
On about day 3 I was there, after about 2 hours, a young black girl directly in front of me in line(I guess she was about 14) just suddenly began slowly singing "Go Tell it on the Mountain" in an absolutely beautiful contralto! Of course, in 15 seconds, we were all singing, and I have never heard the power of song more wonderfully used! We sang the "red...black...etc". version, but in the old church mode and speed.....well, we sang about 4 1/2 verses before the sheriff appeared and told us in no uncertain terms that we "had a permit for walkin'...not no damn permit for singin'".. and that if we didn't shut up, we would all be arrrested. So, we shrugged and just marched....but that song was in everyones head all day and we had made the point and one more step. (Last I heard, Hattiesburg had a black mayor....)"...
**
posted by Joe Offer, 22 Nov 08 - 04:58 PM
..."Here's the Traditional Ballad Index entry on this song:
[entries for Christmas versions of "Go Tell It On The Mountain"]
... Go Tell It on the Mountain (II -- Freedom)
DESCRIPTION: "Go tell it on the mountain, Over the hills and everywhere, Go tell it on the mountain To let my people go." The singer describes the people, clothed in various colors, coming out of bondage
AUTHOR: unknown
EARLIEST DATE: 1963 (recorded by Fannie Lou Hamer)
KEYWORDS: religious freedom nonballad travel
FOUND IN: US Jamaica
REFERENCES (1 citation):
DT, GOTELMT2
Roud #15220
CROSS-REFERENCES:
cf. "Go Tell It on the Mountain (I -- Christmas)"
cf. "Jesus Setta Me Free" (lyrics)
Notes: The "freedom" adaptation of "Go Tell It on the Mountain" came out of the civil rights movement of the early 1960s. I list "Jamaica" as a location in the "FOUND IN" field because this version was recorded by Bob Marley long before he became an internationally-known star, when reggae was still arguably an indigenous folk style. Does this qualify within the "folk tradition"? Eyes of the beholder, perhaps, but I wanted the fact noted. - PJS"
**
posted by Joe Offer, 22 Nov 08 - 07:12 PM
"OK, so here's another Fannie Lou Hamer version. Did she take it from PP&M, or vice-versa?
GO TELL IT ON THE MOUNTAIN
Led by Fannie Lou Hamer, recorded in Greenwood, Mississippi
(Fall, 1963)
Chorus:
Go tell it on the mountain,
Over the hills, and everywhere.
Go tell it on the mountain
To let my people go.
Paul and Silas bound in jail.
Let my people go.
Had nobody for to go their bail.
Let my people go.
(Chorus)
Paul and Silas began to shout,
Let my people go.
Jail door opened, and they walked out.
Let my people go.
(Chorus)
Who's that yonder dressed in red?
Let my people go.
Must be the children that Moses led.
Let my people go.
(Chorus)
Who's that yonder dressed in black?
Let my people go.
Must be the hypocrites turning back.
Let my people go.
(Chorus)
I had a little book, he gave to me,
Let my people go.
And every page spelled victory.
Let my people go.
(Chorus - twice)
The Hamer recording may be found on the Smithsonian/Folkways CD, Voices of the Civil Rights Movement Black American Freedom Songs 1960-1966."
**
posted by Q, 30 Nov 08 - 08:55 PM
"The Paul and Silas verses used by Hamer are known in several forms in older spirituals. Here is part of a spiritual sung by Rebecca Taylor for Carl Sandburg and included in his 1927 "American Songbag:
ALL NIGHT LONG
1
Paul and Silas, bound in jail,
All night long.
One for to sing an' de other foh to pray,
All night long.
One for to sing an' de othah foh to pray,
All night long.
Do, Lawd, delibah po' me!
(two more verses; pp. 448-449, with musical score.)
The Stanley Bros. sang "Paul and Silas;" the first verse:
Paul and Silas bound in jail all night long, (3x)
Saying who shall deliver for me.
Hamer combined the Paul and Silas lines with lines from "Go down, Moses;" 'Let my people go,' etc. is from old spirituals.
I think search will show Hamer's lines and verses mostly are floaters used in several spirituals. The 'combination' might be new, but little else
****
SHOWCASE EXAMPLES WITH LYRICS
These examples are presented in chronological order based on their publishing date on YouTube with the examples with the oldest date given first.
Example #1:
"Tell it on the Mountain" Peter, Paul and Mary
catman916, Uploaded on Aug 5, 2010
One of my favorite folk songs from the 1960s, "Tell It on the Mountain," was adapted and rewritten by Peter Yarrow, Paul Stookey, and Mary Travers from the 19th Century African-American spiritual, "Go Tell It on the Mountain." The song was included in the 1963 Warner Bros album, In the Wind and was released as a single reaching #33 on the US pop chart in 1964. The lyrics truly reflect on the era. I do not own the right to the song, audio, or images contained in this video. The sound recording is administered by WMG. No copyright infringement is intended. The purpose of this upload is for viewer enjoyment and education not for monetary gain.
-snip-
Lyrics:
Go tell it on the mountain, over the hill and everywhere
Go tell it on the mountain, to let My people go
Who's that yonder dressed in red, let My people go
Must be the children that Moses led, let My people go
Who's that yonder dressed in red
Must be the children that Moses led
Go tell it on the mountain, to let My people go
Go tell it on the mountain, over the hill and everywhere
Go tell it on the mountain, to let My people go
Who's that yonder dressed in white, let My people go
Must be the children of the Israelite, let My people go
Who's that yonder dressed in white
Must be the children of the Israelite
Go tell it on the mountain, to let My people go
Go tell it on the mountain, over the hill and everywhere
Go tell it on the mountain, to let My people go
Who's that yonder dressed in black, let My people go
Must be the hypocrites turnin' back, let My people go
Who's that yonder dressed in black
Must be the hypocrites turnin' back
Go tell it on the mountain, over the hill and everywhere
Go tell it on the mountain, to let My people go
From http://www.metrolyrics.com/tell-it-on-the-mountain-lyrics-peter-paul-mary.html
That website includes a notation that Peter Stookey, Noel Paul, Mary Travers, and Milton T. Okun are the songwriters of this version of "Go Tell It On The Mountain".
Read the comment by Q given above in the information & comment section about how Fannie Lou Hamer's version of 'Go Tell It On The Mountain' "combined the Paul and Silas lines with lines from "Go down, Moses;" 'Let my people go,' etc. is from old spirituals. The same can be said of the Peter, Paul, and Mary version of that song. Peter, Paul, and Mary's adaptation of "Go Tell It On The Mountain" borrows heavily from the African American Spiritual "Wade In The Water". That Spiritual contains the "whose that yonder dressed in white" (or other colors) lyrics and the lyrics "let my people go".
****
Example #2: Go Tell It On The Mountain - by Fannie Lou Hamer
MyoclonicSlug, Uploaded on Feb 5, 2012
-snip-
Read the information and comment section above for the lyrics for Fannie Lou Hamer's recording of "Go Tell It On The Mountain".
****
Thanks for visiting pancocojams.
Visitor comments are welcome.
Subscribe to:
Posts (Atom)