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Friday, August 31, 2018

A Video About The History Of Phi Beta Sigma Fraternity Inc. & Videos Of Phi Beta Sigma Fraternity Cane Twirling

Edited by Azizi Powell

This pancocojams post showcases a video about the history of Phi Beta Sigma Fraternity, Inc.

This post also includes several YouTube videos of Sigmas cane twirling. Selected comments from one of the discussion thread for those videos are also included in this post.

The content of this post is presented for historical and cultural purposes.

All copyrights remain with their owners.

Thanks to all those who are quoted in this post and thanks also to all those who are featured in these videos. Thanks also to the publishers of these videos on YouTube.
-snip-
*Phi Beta Sigma Fraternity, Inc. is a historically Black Greek letter fraternity.

Click the tag "Black fraternities and sororities" and "Phi Beta Sigma" tags below for additional pancocojams posts that may include information, comments, and videos about this fraternity.

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SHOWCASE VIDEOS
Example #1: A History of Phi Beta Sigma Fraternity, Inc.



Waymaker Productions, Published on Feb 1, 2014

A brief history of Phi Beta Sigma Fraternity, Inc. that was shown at the Centennial Founders Day Celebration at the University of Nebraska at Omaha on January 31, 2014.

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[Added September 1, 2018]
Example #2: Greek Show Sigma history



Mr.Man, Published on Nov 29, 2013

"Greek Show" is about the history of fraternity stepping. A historical view throughout the years of Phi Beta Sigma Fraternity Inc. The history of fraternity stepping includes a rites of passage form manhood to brotherhood, from traditions to history, from discipline to execution, from timing to flow, from excitement to powerhouse. Phi Beta Sigma fraternity has historically been known as the brothers with a P.H.D in Stepology.

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Example #3: Sigma Cane Twirlin'



Fame88, Published on Mar 17, 2008

One of our Sigmas from Auburn University showing them how to do it with the cane work.
-snip-
selected comments from this video's discussion thread, with numbers added for referencing purposes only:
1.Perez B, 2008
"Preciate it frat! And believe, more comin'. Gotta show'em how we do this Spinnin' thang."

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2. Justin Stewart, 2010
"Before the back and forth debate begins let me make it clear that we ( Phi Beta Sigma) first used the cane in STEPPING. It wasnt stated that we were twirling them or not. We dont want any parties to be offended due to a missing piece of info."

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REPLY
3. BlackSunsu, 2010
"@KZbluphi3

I truly believe that the debate of who has the cane first has begun before your comment was posted."

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4. Startrak1914, 2010
"If you wish to have this discussion with a much older historian, let me know! I have no disses for Kappas, yal do what you do and amazing twirling (some of you) but it bothers me when yal diss, it shows that you have something to prove. Now, I can prove facts, but have no reason to..because I chose not to diss. I can show where many orgs have borrowed from another. Please hav confidence in yourself and let this rest. Be flattered someone took notice at twirling as you did in us steppin with them"

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5. yoboibigc, 2011
"i hope i dont get curse out for this...but im not a kappa nor sigma but i do know about the argument about who first step with the cane...sigmas say they did...kappas say they did...its one history's word vs the next...no one can prove who did it first so just kill the noise...cant prove it then just kill it...cause at the end of the day both frat history books say they did it first...thats like asking which came first the egg or the chicken..its a debate that can keep going on and on"

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6. brandon johnson, 2012
"but that doesn't exclude the fact that sigmas were the first to use them. So your point is pointless to say you got these nupes running around here saying the opposite that initially they were the first to ever use canes but keep it 100 what it really comes down to is bitting another org style in creativity and then calling it yall own like yall have some kind of ownership
-snip-
“Nupes” is a referent for members of Kappa Alpha Psi Fraternity, Inc."

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7. brandon johnson, 2012
"I go by the facts and the fact of the matter is that the kappas don't have substantial evidence to even show that they were ever the first to use cane's. Sigma's have documentation as well as physical evidence. [profanity deleted] how you feel cause at the end of the day the truth will speak for itself so when kappas be coming at me with they the first I just laugh and keep twirling my CANΣ in they face. Im cool with those that aren't sensitive like [profanity deleted] what you crying for its just a stick calm your panty's"

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Example #4: Phi Beta Sigma- Cane Work



madavis1987, Published on Jul 17, 2010

GOMAB!
FALL 2K9- 4 PILLARS OF THE BLUE DYNASTY
ACE CLUB ~ Sentinel
ABG- UNIV. OF TAMPA

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Example #5: Sigma Cane Master



solosigma, Published on Sep 15, 2011

Phi Beta Sigma Brother Carlos twirling. Awesome!

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Example #6: Phi Beta Sigma Zeta Phi Chapter Cane Twirl Part 2



Mr Martin, Published on Sep 29, 2014

Phi Beta Sigma Fraternity Inc Homecoming 2014 at Purdue University. My boys showing them how it's done! Blue Phi!! - feed & posted by Bro. DYNAMITE Blue

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Visitor comments are welcome.

Information About Kappa Alpha Psi Fraternity, Inc's History Of Stepping With Kanes & Videos Of Kappa Kane Masters

Edited by Azizi Powell

This pancocojams post provides an article excerpt about Kappa Alpha Psi Fraternity, Inc's history with kanes.

This post also includes several YouTube videos of Kappa kane masters' twirl offs and non-competitive demonstrations of kane work. Selected comments from the discussion threads for two of these videos are also included in this post.

The content of this post is presented for historical and cultural purposes.

All copyrights remain with their owners.

Thanks to all those who are quoted in this post and thanks also to all those who are featured in these videos. Thanks also to the publishers of these videos on YouTube.
-snip-
Kappa Alpha Psi Fraternity, Inc. is a historically Black Greek letter fraternity. Using the letter "k" instead of the letter "c" in words is a custom among members of Kappa Alpha Psi, Fraternity, Inc.

Click the tag "Black fraternities and sororities" and "Kappa Alpha Psi" tags below for additional pancocojams posts that may include information, comments, and videos about this fraternity.

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DEFINITION OF "TWIRL OFF"
"Twirl offs" are competitions between two or more persons from the same Greek letter organization or from different organizations*. The purpose of the competition is to determine who has the highest level of "cane work" skills. People competing in twirl offs appear to already be acknowledged by their peers as "kane masters" (cane masters).
-snip-
*I haven't seen any videos or comments about a fraternity member having a twirl off between a sorority member.

-snip-
The earliest mention of "twirl offs" that I've found is from 2008 [Note the video given as Example #1 below].
-snip-
"Cane work" skills comprise more than just twirling the cane, or "cane work" refer to twirling the cane in certain ways. Here's a comment from a sometimes contentious greekchat.com discussion about stepping and cane twirling. (That online discussion among members of various historically Black Greek letter organizations began in 2002 and continued through 2006:
From http://www.greekchat.com/gcforums/showthread.php?t=15583&page=2
"03-19-2002, 09:48 AM
Bobby Earl
Location: baton rouge
Talking Baby UM back....
Man, it's been a minute since I have been up in here... up in here.
I see things haven't changed much.
It is amazing how quickly dicussions can get heated in this camp.

Well let me put my two cents in.

I do agree with DoggyStyle a little. Frats should do what they do and what they do, only. However, I am sure that some where down the line, some organizations have bitten the styles of other organizations. Nevertheless, we all have a unique style that is "Often imitated but never duplicated." I don't care how many organizations started with, used, or incorporated a kane into their history.

NOBODY KNOWS ABOUT KANE like a NUPE (notice I didn't say Kappa) KNOWS ABOUT KANE ... and I'm not just talking about founders either.

You can twirl it, flip it, roll it, catch it and even hook it.
But until you get in the KUT, you don't know anything about it!

THAT IS THE DEAL WITH THE KANES.


"Youngblood"
SPR 93
Theta Lambda
Kappa Alpha Psi Fraternity, Inc."
-snip-
I'm assuming that "get in the KUT" means become a member of Kappa Alpha Psi Fraternity, Inc.
-snip-
As of the date of this post's publication, the only references that I've found online to "twirl offs" and "kane masters"/"cane masters" pertain to members of Kappa Alpha Psi Fraternity Inc, and Phi Beta Sigma Fraternity, Inc.

I've also read the some members of Sigma Gamma Rho Sorority, Inc. step with canes, but I don't know whether they twirl, or have twirl offs, or acknowledge any of their members (or any other female) as "cane masters".
-snip-
Please suggest improvements for this definition for "twirl off".

Also, please share information about "twirl offs", including when historically Black Greek letter organization twirl offs were first held.

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ARTICLE EXCERPT
From http://www.gmu.edu/org/mumunupes/history_kane.htm The History of the Kane
[Note: This article excerpt is given without any photographs and their captions although that content is an important part of this article.]

"Why Kappa’s Have Canes
The use of walking sticks and canes may very well date back to centuries B.C. to the times when shepherds would tend to their flocks. This ties into the early roots of Christianity and leads to the candy canes of today being striped the way they are (3 thin stripes and 1 solid stripe) to remind us of the Father, Son, and Holy Ghost and the blood of Christ. The shape was believed to be chosen because the cane, if pointed upward, resembles the letter "J" for Jesus. The history of the cane also ties in with the African Rights of Passage, and was a symbol of manhood that had to be carried by initiates wishing to become adult members of their respective tribe.

Dealing more directly with the evolution of the cane and how it relates to the Fraternity, canes started off as assistive devices, and later turned into social status symbols for society. In the 1700's and 1800's, canes were a fashion embellishment. One "wore" a cane. These old canes were decorative, objects to be admired and be proud of. They became collector’s items and represented the true sign of a Gentleman.

Members of Kappa Alpha Psi Fraternity have always worn or carried canes since the beginning of the Fraternity in 1911. Although unintentional in its inception, this occurrence soon became an unofficial tradition of Kappa men, as Kappa’s have always strived to be noble and productive members of the community. Members of the Fraternity then proudly adorned the cane, being the symbol of a Gentleman who exhibits such characteristics.

This type of display became commonplace up until the 1950's when Black Greek Letter Organizations, on an undergraduate level, began to practice what is known today as "Step Shows". Undergraduate members of Kappa Alpha Psi Fraternity took part in the trade and soon incorporated the use of their favorite item, the cane, into the routine. This was something that spread to many undergraduate chapters during the 50's and 60's. Stepping was catching on at an accelerated rate among the African American fraternities and sororities during this time period.

It was not until the mid to later 1960's that the undergrads of Kappa Alpha Psi Fraternity began to decorate the step canes with the colors of the organization. The usual design was to pattern the cane with a crimson and a cream stripe from tip to tip which can be made out below in the photo.

All throughout the 50's and 60's, canes used in the art of stepping were standard canes of approximately 36 inches in length, give or take half a foot. Eventually, as stated before, the canes would be adorned with the Fraternity colors of crimson and cream, but they were still standard length. Members of Kappa Alpha Psi would perform routines know as "Taps" where the canes would be beaten on the ground in time with the rhythmic beat of the step show.

The turn of the decade would reveal an evolution in cane stepping known today as "twirling". Undergraduate members of Kappa Alpha Psi in the 70's, not content with Taps alone, would then create a new form of cane mastery which involved much more skill and talent than merely banging the cane on the ground in a certain beat.

During the 70's, members of Kappa Alpha Psi Fraternity, Inc. began to "twirl" canes.

Now that "twirling" had become the new style of cane stepping among Kappa undergrads, members were constantly searching for better and faster styles. One problem that Kappa’s faced during this time is that they were still practicing the step show routines using the standard sized, 3 foot canes which can be seen above in both photographs. Kappa’s widely found that while standard length canes worked fine for tapping, they became a hindrance when it came time to twirl. Thus, cane stepping evolved once again with the birth of the short cane, which can be seen below.

This new evolution of the short cane during the later 1970's has remained constant to this day, as can be seen in this recent photo of Kappa’s stepping.

Thus, the full-length cane, as well as standing straight up in order to perform a "Tap", has been sacrificed, making way for twirling ability and speed.

Backtracking for a moment, a very important part in cane stepping history was the acceptance of this trade by the Grand Chapter of Kappa Alpha Psi Fraternity, Incorporated. All the aforementioned events have involved the undergraduate members of the Fraternity. However, cane stepping, even from its beginnings during the 1950's, has not been considered an official part of Kappa Alpha Psi Fraternity, Inc. until as of late. The National Organization was slow to accept this as an official part of the Fraternity, even though undergraduate members, across the entire United States, were widely participating in the art and tradition of cane stepping.

[...]

Cane stepping became an official part of [Kappa Alpha Psi Fraternity, Inc. at the 66th Grand Chapter meeting in 1986] and a dazzling competition was held in front of hundreds of onlookers during a picnic in Washington's Rock Creek Park to illustrate the skills of the trade. Several groups participated, performing frenzied and entertaining steps."

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SHOWCASE VIDEOS
Example #1: Kappa Alpha Psi Presents the Kanemaster Association



mloh601, Published on Oct 24, 2008

Minnesota Konclave '07 Featuring G Phi, GE, BZ, & Eta Chi Kanemasters
-snip-
selected comments from this video's discussion thread, with numbers added for referencing purposes only:
1. deltric latham, 2009
"The Krown is worn by PACO, and if anybody wants it, I'm not hard to find. I welcome any challengers:-)!( with open arms) We are all Jedi Knights, and I am YODA! Respect it or check it! Long Live Da KaneMaster Association A.K.A. Da Justice League!"

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2. deltric latham, 2009
"Our KaneMaster Association does not accept mediocrity in the realm of twirling. You must be approved by us to be considered worthy. We are the standard. Yo!"

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3. deltric latham, 2011
"The KANEMATER ASSOCIATION members are: Paco Villa BZ; James Keith GE; Mike Leonard G PHI; Santagio Eta CHi; Shannon Theta Delta;
New prospect: Steve (Eta Chi)
Honarary Members: D. Jefferson EE; Zorro Eta Chi; Johnny Eta Chi; Ali (bham legend; D-Fen GE; Fred; Andy Raglin G Phi; Showtime G Phi; Ricky Punch GE; Crowmartie BZ;."

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4. Kreamery, 2011
"Great work Nupes... But a New generation of Kanemasters has risen... I know FOUR guys from Arkansas and Louisiana who are WELL WORTHY OF KANEMASTER STATUS.... Videos will be tagged very soon, so I hope your eyes are quick enuff to keep up..."The Torch is Ready for Passage"
Gamma Sig- UAPB
Alpha Sig- Southern University
Ce-YO Nupes of Louisiana Tech
" Boys Is Sick" YOU WILL NOT BE DISSAPPOINTED!!! Yoooo!!!!!!"

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Example #2: Kane Twirl Off at 2011 Kappa Alpha Psi Conclave



Benson Blake Photography, Published on Aug 27, 2011

Kane Twirling competition at the Centennial Family Picnic - July 8, 2011 in Indianapolis, IN. Congrats to winner Drew Brown!
-snip-
selected comments from this video's discussion thread, with numbers added for referencing purposes only:
1. Drew Brown, 2013
"Note:
With regard to the competition in the video, the TOP competitors agreed on the winner before the prizes were awarded. The audience automatically factors in originality, trick difficulty, showmanship, costume, style, etc. Artists have bad days too.

Experienced artists know how to impress the audience. Hell, I already know exactly what I'll be doing next time (and roughly how the crowd will respond).

That said, if I lose the NEXT cane competition: "The audience is wrong!"

LOL

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REPLY
2. Drew Brown, 2017
"Well . . . . It's been 4 years since I commented and roughly 6 years since the competition in 2011.

I haven't lost a competition yet.

The audience was right."

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3. Drew Brown, 2013
"I've been in several competitions. I've beaten whole step teams (by myself). I've competed against singers, strippers, dancers, and cane masters.

In all of the competitions, "something" controversial happens. Nonetheless, I value the judgement of 6000 people in a field over that of a few people.

I don't win every competition. Still, I accept the judgement of the audience and do my best to learn why I did not win.

I've never been in a competition where I felt the audience was "wrong"."

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4. Randall Jordan, 2013
"Working the wood, its understood!!! - Lil KeKe
Congratulations on the 1st 100 years &
Congrats to Drew Brown on this victory. The results have been mixed due to obvious opinionated statements & personal preferences of Kane Twirling Styles. I guess the Showtime @ the Apollo rules didn't anoint an agreed upon victor this year. James Keith & Paco Villa killed it, while Drew Brown showed other facets of this artform. Nonetheless, this video was hella tight!
BigRandallJordan
Young Gents of Houston"

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Example #3: Kappa Kane Master 30 Years Later



James Logan, Published on Aug 14, 2014

They asked this Kane Master from Western Kentucky University if he could still twirl his Kappa Kane.He said, "Once a Kappa Master always a Kane Master.I'm not new to this.I'm true to this. "

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Example #4: Best Kappa Kane Kompetition Ever: Paco vs. Pretty Mike at the 100th!



zulubeat, Published on Oct 1, 2015

KAPPA HISTORY MADE AT THE CENTENNIAL KONKLAVE SUMMER 2011. Master Kaners Paco Veela vs Pretty Mike square off in an epic battle for the ages, right in front of 721 Hunter Ave. Bloomington, Indiana.....the very first Kappa house of Kappa Alpha Psi Fraternity Inc

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Example #5: Kappa Alpha Psi: THE Kane Master (Stephen Storey: Eta Chi)



Filmswave Clubhouse, Published on Jan 9, 2018

THE Eta Chi Chapter of Kappa Alpha Psi at The University of Alabama. FA' 2K9 Kane Master Stephen Storey

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Information About Haitian Rara Processions & Haitian Vodou

Edited by Azizi Powell

This pancocojams post provides information about and videos of Haitian Rara with particular attention to twirling batons or canes during Rara processions. 

This post also includes information about Haitian vodou, an excerpt from the Wikipedia page about Haitian rara, and an excerpt from a university paper by Howard Culbertson about a Haitian rara parade that he observed in 1988.

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 quoted in this post. Thanks also to all those who are featured in these videos and all publishers of these videos on YouTube.

Click http://pancocojams.blogspot.com/2015/04/kongo-and-other-african-influences-on.html for the pancocojams post entitled "Book & Article Excerpts Of African & Haitian Rara Sources Of Baton Twirling & Other Twirling Performances".

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PANCOCOJAMS EDITOR'S COMMENT [revised September 6, 2018]
My interest in this subject was recently whetted by reading several comments in discussion threads for historically (predominately) Black Greek letter organizations [BGLO} that stepping, the custom of carrying canes (or staffs) and cane tapping/cane twirling during step performances came from African cultures.

My position is that African cultures weren't the direct source for BGLO stepping with or without carrying canes. That is to say, I don't believe that stepping was created as a result of historically Black Greek letter fraternities and sororities learning about or being taught one or more forms of African dance such as South African gumboot dancing. Stepping is a performance art that has evolved over time and continues to change within different organizations and different chapters and regions of those organizations.

For instance, what is now called stepping has changed since I first pledged a historically Black Greek letter organization in 1967 (Alpha Kappa Alpha Sorority, Inc. Gamma Zeta chapter). I don't recall ever using the term "stepping" or hearing that term used, but I do recall doing a dance routine in a vertical line and/or a horizontal line while singing adapted R&B songs that praised that organization.

That said, I believe that certain African dance forms -such as South African gumboot dancing- may have eventually influenced the performance BGLO stepping, but that performance style was probably influenced more by American military drills and Black drum major parade stances. It's obvious that some elements of certain African dance forms are quite similar to stepping, but I think that this can be attributed to the similar aesthetic preferences of Africans and of African Americans and other people in the African Diaspora.

More specifically, while it's true that a number of African ethnic groups have traditional dances that are performed with men and women holding sticks*, I believe that customs of tapping and/or twirling canes that are part of the stepping routines of certain historically Black Greek letter organizations [particularly Kappa Alpha Psi Fraternity, Inc., Phi Beta Sigma Fraternity Inc., and Sigma Gamma Rho Sorority, Inc.] can be more directly attributed to Haitian rara cane twirling customs, New Orleans (and other) African American parade traditions, and heavily African American influenced soft shoe and/or tap dancing with a cane performances.

*Some examples of African ethnic groups who have dances holding sticks are South Africans' Xhosa, Zulu, and Mpondo.
-snip-
I hold this opinion in spite of comments from some members of some BGLO organizations that stepping and/or strolling came from African cultures, and that stepping and/or strolling came from Africans who became members of their organizations.

Click http://pancocojams.blogspot.com/2018/08/was-south-african-gumboot-dancing.html a pancocojams post entitled Was South African Gumboot Dancing REALLY The Main Source Of The Movements For Historically Black Greek Letter Fraternity & Sorority Stepping?

Also, click http://pancocojams.blogspot.com/2018/08/similarities-differences-between-south.html for the pancocojams post "Similarities & Differences Between South African Gumboot Dance Performances & Performances Of Black [African American] Fraternity & Sorority Step Teams"

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INFORMATION ABOUT HAITIAN VODOU
From https://en.wikipedia.org/wiki/Haitian_Vodou
Haitian Vodou[1][2][3] (/ˈvoʊduː/, French: [vodu], also written as Vaudou /ˈvoʊduː/;[4][5] known commonly as Voodoo[6][7] /ˈvuːduː/, sometimes as Vodun[8][9] /ˈvoʊduː/, Vodoun[8][10] /ˈvoʊduːn/, Vodu[6] /ˈvoʊduː/, or Vaudoux[6] /ˈvoʊduː/) is a syncretic[11] religion practiced chiefly in Haiti and the Haitian diaspora. Practitioners are called "vodouists" (French: vodouisants [voduizɑ̃]) or "servants of the spirits" (Haitian Creole: sèvitè).[12]

Vodouists believe in a distant and unknowable Supreme Creator, Bondye (derived from the French term Bon Dieu, meaning "good God"). According to Vodouists, Bondye does not intercede in human affairs, and thus they direct their worship toward spirits subservient to Bondye, called loa.[13] Every loa is responsible for a particular aspect of life, with the dynamic and changing personalities of each loa reflecting the many possibilities inherent to the aspects of life over which they preside.[14] To navigate daily life, vodouists cultivate personal relationships with the loa through the presentation of offerings, the creation of personal altars and devotional objects, and participation in elaborate ceremonies of music, dance, and spirit possession.[15]

Vodou originated in Benin Republic and developed in the French colonial empire in the 18th century among West African peoples who were enslaved, when African religious practice was actively suppressed, and enslaved Africans were forced to convert to Christianity.[16][17] Religious practices of contemporary Vodou are descended from, and closely related to, West African Vodun as practiced by the Fon and Ewe. Vodou also incorporates elements and symbolism from other African peoples including the Yoruba and Kongo; as well as Taíno religious beliefs, Roman Catholicism, and European spirituality including mysticism and other influences.[18]

In Haiti, some Roman Catholics combine their faith with aspects of Vodou. This practice is denounced as diabolical by virtually all Haitian Protestants.[19]"...

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INFORMATION ABOUT HAITIAN RARA PARADES
From https://en.wikipedia.org/wiki/Rara
"Rara is a form of festival music that originated in Haiti, that is used for street processions, typically during Easter Week. The music centers on a set of cylindrical bamboo trumpets called vaccine, but also features drums, maracas, güiras or güiros (a percussion instrument), and metal bells, as well as sometimes also cylindrical metal trumpets which are made from recycled metal, often coffee cans. The vaccine perform repeating patterns in hocket and often strike their instruments rhythmically with a stick while blowing into them. In the modern day, standard trumpets and saxophones may also be used. The genre though predominantly Afro-based has some Taino Amerindian elements to it such as the use of güiros and maracas.

The songs are always performed in Haitian Creole and typically celebrate the African ancestry of the Afro-Haitian masses.

[...]

Rara performances are often performed while marching and are often accompanied by twirlers employing metal batons. Performances generally begin on Ash Wednesday and culminate at Easter Weekend."...

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From https://home.snu.edu/~hculbert/rara.htm
..." It was about 9 a.m. Sunday morning, March 6, 1988. I was on the edge of Haiti's National Highway No. 1 just south of the port city of Gonaives.
I was watching a rara band, an all-night dancing parade which slowly move through villages and towns in southern and central Haiti from Mardi Gras to Easter (that is, the entire Lenten season). Some elements of these parades resemble the giant Mardi Gras celebrations of New Orleans, Rio de Janeiro and Haiti's capital city of Port-au-Prince. It is, in fact, referred to as the Carnival (or the French phrase Mardi Gras which we use in English) parade of the rural Haitian peasant.

This particular rara which I was observing closeup had stopped to circle repeatedly in front of a cluster of houses in the Trou Sable suburb of Gonaives. Although participants in these parades will put on elaborate costumes (elaborate at least for a rural peasant living on a subsistence income), most of the 50-plus participants in this particular rara were dressed in normal clothing. The leader of the group appeared to be a man with a long whip. He also had a whistle of the type used by traffic policemen and sports referees. He occasionally tried to crack the whip (with limited success) and blew the whistle in short blasts in time with a rhythmic beat coming from the small "orchestra." I was later told that the whip was used to disperse unfriendly spirits, including those who might have been purposely left by other, rival rara groups.

Eight to ten members of the group were musicians carrying bamboo tubes, drums and homemade horns or trumpets. The bamboo tubes were two to three feet long, perhaps three inches in diameter and were used to produce a low-pitched, fog-horn type sound. The drums were homemade, hollowed-out logs with animal, skin covers held taut with pegs. The horns were made from sheet metal and resembled funnels with extended necks. These musicians were grouped together in front of the slowly moving group. They beat the drums and blew on their horns and bamboo tubes in a monotonous (to me at least) rhythmic beat. During the time that I observed the group there was no singing or chanting. Most of the group shuffled along with the beat while a few went into writhing dances as they circled and circled, kicking up dust. When they eventually went off down the road toward Gonaives, they marched along in the same manner and a speed of perhaps not more than one mile per hour.

The rara groups are definitely tied to voodoo. The parades are almost always organized by a voodoo priest/shaman. There is a definite structure to each group which will hold several parades during the Lenten season. In addition to the voodoo priest, there will be an orchestra leader, traffic control people, and even a treasurer. Getting into therara band orchestra requires an audition.

In the group that I observed there was no sign of spirit possessions or other phenomena associated with voodoo. In fact, I was told that possession experiences are discouraged during rara parades.

I was told that the rara groups often sing songs which have more to do with local gossip than with religious themes. Often the group will be asked by someone to make up a song ridiculing that person's enemy. In return, the person making the request is expected to give money to the rara group. An adulterous wife or husband will sometimes be the object of a song.

Christians do not participate in the rara bands. Nor do these bands normally stop in front of Christians' homes. In some areas they are even respectful of church congregations, keeping noise to a minimum as they pass in front of their buildings. In other areas they seem to delight in disturbing church services.

Although the parades may occur anytime, most are organized beginning Saturday evening and run to early Sunday morning. The particular group I observed was undoubtedly in its last few minutes of life. Each rara group is supposed to return to its departure point before disbanding."...

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SHOWCASE VIDEOS
Example #1: Example #1: Rara de Leogane (extrait)

https://www.youtube.com/watch?v=zUbBv7afZlU
embedding disabled upon request

jfchalut, Published on Jan 5, 2011

Chaque année durant la Semaine sainte, Léogane devient le siège d'une compétition pour déterminer le meilleur rara de la région. Ce film relate le parcours mystique des différents raras depuis le Vendredi Saint jusqu'au Lundi de Pâques (Sainte Colette), Le houngan Louisant Ferdinand nous explique la place du Vodou dans le rara, le rôle des participants et l'esprit de compétition qui les anime.
-snip-
Google translate from French to English:
"Every year during Holy Week, Leogane becomes the seat of a competition to determine the best rara of the region. This film tells the mystical journey of different raras from Good Friday to Easter Monday (Saint Colette), The houngan Louisant Ferdinand explains the place of the Vodou in the rara, the role of the participants and the spirit of competition that animates."
-snip-
"houngan" = vodou priest

This is an excerpt of 30 minute video Rara de Leogane [https://www.youtube.com/watch?v=NnvvKWhZQ5Q]. Like the longer video, the beginning scene shows a major jonc twirling a baton.
-snip-
Like numerous African cultures, Haiti also has a martial arts tradition of stick fighting. Click https://www.youtube.com/watch?v=-bdU0-E_eOo for a video of Haitian stick fighting.

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Example #2: July 2, 2018 *



Group K-dja Ginen Alisma, Published on Jul 3, 2018
-snip-
* This is the video's title. My description of the video is "Haitian women dancing with long canes as part of voodoo ceremony."

If you know any information about this dance, please share it in the comment section below. Thanks.

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RELATED LINKS
Click http://pancocojams.blogspot.com/2014/04/stand-battles-changing-meaning-of.html for a pancocojams post on "Stand Battle & The Changing Meaning of "majorettes" Among African Americans.

Also, click For Part I of this series, click http://pancocojams.blogspot.com/2012/11/cane-kane-performances-in-black.html for Part I of a three part series on Cane (Kane) Performances in Historically Black Greek Letter Organizations.

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Thanks for visiting pancocojams.

Visitor comments are welcome.

Thursday, August 30, 2018

Eight Examples Of Traditional African Dances In Which Dancers Hold A Stick (Including A Fly Whisk)

Edited by Azizi Powell

Latest revision: August 31, 2018

This pancocojams post showcases eight examples of traditional African dances that feature dancers holding a stick (including a fly whisk).

In alphabetical order, these examples are from Nigeria, South Africa, and Rwanda.

An Addendum to this post (added on August 30, 2018) includes information about Egyptian saida dancing (dancing with a one or two sticks/canes). One video of that style of dancing is also included in the Addendum. "Saida" may not be "traditional" African dancing, but it is African and it is 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 and all publishers of these videos on YouTube. Thanks also to all those who are quoted in this post.
-snip-
This is only a small sample of YouTube videos of traditional African dances that feature holding a stick (including a fly whisk).

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PANCOCOJAMS EDITOR'S COMMENT [revised September 6, 2018]
Article Excerpts Of African & Haitian Rara Sources Of Baton Twirling & Other Twirling Performances".

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PANCOCOJAMS EDITOR'S COMMENT [revised September 6, 2018]
My interest in this subject was recently whetted by reading several comments in discussion threads for historically (predominately) Black Greek letter organizations [BGLO} that stepping, the custom of carrying canes (or staffs) and cane tapping/cane twirling during step performances came from African cultures.

My position is that African cultures weren't the direct source for BGLO stepping with or without carrying canes. That is to say, I don't believe that stepping was created as a result of historically Black Greek letter fraternities and sororities learning about or being taught one or more forms of African dance such as South African gumboot dancing. Stepping is a performance art that has evolved over time and continues to change within different organizations and different chapters and regions of those organizations.

For instance, what is now called stepping has changed since I first pledged a historically Black Greek letter organization in 1967 (Alpha Kappa Alpha Sorority, Inc. Gamma Zeta chapter). I don't recall ever using the term "stepping" or hearing that term used, but I do recall doing a dance routine in a vertical line and/or a horizontal line while singing adapted R&B songs that praised that organization.

That said, I believe that certain African dance forms -such as South African gumboot dancing- may have eventually influenced the performance BGLO stepping, but that performance style was probably influenced more by American military drills and Black drum major parade stances. It's obvious that some elements of certain African dance forms are quite similar to stepping, but I think that this can be attributed to the similar aesthetic preferences of Africans and of African Americans and other people in the African Diaspora.

More specifically, while it's true that a number of African ethnic groups have traditional dances that are performed with men and women holding sticks*, I believe that customs of tapping and/or twirling canes that are part of the stepping routines of certain historically Black Greek letter organizations [particularly Kappa Alpha Psi Fraternity, Inc., Phi Beta Sigma Fraternity Inc., and Sigma Gamma Rho Sorority, Inc.] can be more directly attributed to Haitian rara cane twirling customs, New Orleans (and other) African American parade traditions, and heavily African American influenced soft shoe and/or tap dancing with a cane performances.

*Some examples of African ethnic groups who have dances holding sticks are South Africans' Xhosa, Zulu, and Mpondo.
-snip-
I hold this opinion in spite of comments from some members of some BGLO organizations that stepping and/or strolling came from African cultures, and that stepping and/or strolling came from Africans who became members of their organizations.

Click http://pancocojams.blogspot.com/2018/08/was-south-african-gumboot-dancing.html a pancocojams post entitled Was South African Gumboot Dancing REALLY The Main Source Of The Movements For Historically Black Greek Letter Fraternity & Sorority Stepping?

Also, click http://pancocojams.blogspot.com/2018/08/similarities-differences-between-south.html for the pancocojams post "Similarities & Differences Between South African Gumboot Dance Performances & Performances Of Black [African American] Fraternity & Sorority Step Teams"

**
Here's a comment exchange from the discussion thread for the video given as Example #5 below. This exchange can serve as an example of (probably) African Americans attributing stepping and other elements of African American culture to Africans:

jafairar collins, 2016
"I see alot of historical black colleges band moves in this well for drum majors...I see we really never lost our touch"

**
REPLY
gmail user, 2017
"Only thing is they put the "greek" on it...smh"

**
REPLY
1judahisrael, 2018
"It's in the DNA"

**
Amza, 2018
"jafairar collins EXACTLY what I was thinking! Drum majors, marching bands, and Greek step shows❤"
-snip-
Click http://pancocojams.blogspot.com/2018/08/was-south-african-gumboot-dancing.html a pancocojams post entitled Was South African Gumboot Dancing REALLY The Main Source Of The Movements For Historically Black Greek Letter Fraternity & Sorority Stepping?

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SHOWCASE VIDEOS
These videos are given in chronological order based on their publishing date on YouTube with the oldest dated video given first.

Example #1: Oma Lore 6.6 [Yoruba culture, Nigeria (West Africa)



jensbraun, Published on Dec 23, 2008

Erin ogho, orin Yoruba lati Owo (Muibat Aladeniyi)
-snip-
"Fly whisks" are wooden sticks decorated with horse hair (and possibly other items such as colored beads). Here's an excerpt from https://en.wikipedia.org/wiki/Fly-whisk for information about the symbolic meanings of fly whisks in Africa:
"A fly-whisk is a tool to swat or disturb flies. A similar gadget is used as a hand fan in hot tropical climates, sometimes used as part of regalia, and called chowrie, chāmara or prakirnaka in South Asia and Tibet.[1][2]

[...]

Fly-whisks appear frequently in the traditional regales of monarchs and nobility in many parts of the African continent. This use has sometimes carried on into modern contexts: Kenyan leader Jomo Kenyatta carried a fly-whisk, a mark of authority in Maasai society,[5] as did Malawian leader Hastings Banda, while South African jazz musician Jabu Khanyile also used a Maasai fly-whisk as a trademark when on stage.[6]"

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Example #2: Botswana Cultural Night - Tokyo October 19th 2010



Dancing4kids, Published on Oct 19, 2010

Traditional Dance Troup Performance - Dipela tsa ga Kobokwe Cultural Troupe.

In support of the children of Botswana Dancing4Kids attended this extraordinary event which featured a traditional dance troupe, Dipela tsa ga Kobokwe (apparently translates as "The Rock Rabbits") as well as contemporary band Banjo Mosele & Veterans. Banjo was one of the original founding members of the Kalahari Band that recorded with Hugh Masekela in the 1980's and is active on the European jazz scene, so this should be fun! President Khama was also in attendance.
-snip-
According to several commenters, this is the tsutsube dance, the traditional dance of the San. In 2012 a commenter named avidave wrote that "they are slow , ahh , Tsutsube is nicer when at a higher tempo"

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Example #3: Botswana Tribe (Bushmen) Dancers In the Athletes Village Welcome Centre. Tsutsube Dance



Andrew Medlock, Published on Feb 11, 2013

Botswana Tribe (Bushmen) Dancers In the Olympic Athletes Village Welcome Centre
-snip-
Here's a comment from this video's discussion thread.
Steven Mmape, 2016
"Stop calling our people "bushmen" there's no such thing as you say. Would you just be respectful and enjoy the video."
-snip-
Here's information about the referent "San" from https://en.wikipedia.org/wiki/San_people
"Sān or Saan peoples (also, Sākhoen, Sonqua, and in Afrikaans: Boesmans, or in English: Bushmen,[1] after Dutch Boschjesmens; and Saake in the Nǁng language) are members of various Khoesān-speaking indigenous hunter-gatherer groups representing the first nation of Southern Africa, whose territories span Botswana, Namibia, Angola, Zambia, Zimbabwe, Lesotho[2] and South Africa.

[...]

by the late 1990s, the term San was in general use by the people themselves.[23] The adoption of the term was preceded by a number of meetings held in the 1990s where delegates debated on the adoption of a collective term."...

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Example #4: Dance performance in Belgian Congo 1956 [This title is incorrect. This is actually the Tutsi dance from Rwanda (Central/Eastern Africa)




MichaelRogge, Published on Jul 29, 2013

From a 16mm Kodachrome film when the Congo was not yet named The Democratic Republic of the Congo
-snip-
Here's a comment from this video's discussion thread:
btflWorld, 2014
"Hi, thanks for sharing this video. a shame though, the music you put in (drums etc) don't correspond to the dance itself at all, it is like to put a rock music on a classic dance. and the music on the video is certainly not from there. Probably from Congo.This dance is from Intore (Rwanda), that still exist till now(recent can be found type "intore dance" in youtube). Normally with this dance, there is no music with it. Dancers have small bells on their feet and the noise the bells make when they dance constitutes the rythm. sometimes there is a drum. for whoever knows this culture, sound matters a lot, I had to remove the sound to fully appreciate the video. But anyways thanks for sharing."
-snip-
Click https://en.wikipedia.org/wiki/History_of_Rwanda about the colonization history of Rwanda.
for information about the history of German and Belgian colonization of Rwanda.

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Example #5: INDLONDLO ZULU DANCERS SA



Indlondlo Zulu Dancers, Published on Dec 9, 2014

Ushaka Marine Zulu Dance Finals at Ushaka Marine World in Durban South Africa on 30 November 2014.

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Example #6: Imfene Traditional Dance [South Africa]



Nkanyiso Mathamba, Published on Nov 28, 2016

Kusile - Song by Nkunz'Emdaka from Bizana, Eastern Cape

#MpondoFestival2017 #Ntabankulu #MpondoKingdom
-snip-
Another example of the Mpondo's Imfene (baboon) dance is given as #8 below.

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Example #7: TOP 10 IGBO CULTURAL DANCE. (OFUOBI CULTURAL DANCE GROUP UDI 2) [Nigeria, West Africa]



UGWUMBA TV, Published on Jun 29, 2017

Dancing with fly whisk in hand
-snip-
Dances with fly whisks are shown at 10:14-11:34 and 17:39-19:23

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Example #8: Mpondo Culture and Heritage Festival 2017 Thuluzobona perfromance



Princess Stella Sigcau, Published on Oct 10, 2017

Performance by Thuluzobona Traditional group which specializes in Mfene Mpondo Dance. Recipients of the Nkosi Ntsikayezwe Sigcau Memorial Award (traditional youth, category)#MpondoFestival2017 #Ntabankulu #MpondoKingdom #EasternCapeProvince #RepublicofSouthAfrica
-snip-
Here's information about the Mpondo [ethnic group]. I've added this information because this ethnic group isn't as well known [in the United States] as the other African ethnic groups that are featured in this post.
From https://en.wikipedia.org/wiki/Mpondo_people
"The Mpondo people, also called AmaMpondo and Pondo, are a Southern African ethnic group.[3] Their traditional homeland has been in the contemporary era Eastern Cape province of South Africa, more specifically what used to be the Transkei region.[2] They speak a Nguni / Mbo language called isiMpondo which is grammatically similar to both isiXhosa and isiZulu."...

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ADDENDUM August 30, 2018
Click https://www.worldbellydance.com/belly-dancing-with-canes/ for information about Egyptian belly dancing with a stick. Here's an brief excerpt of that article:
The idea of belly dancing with canes originates from Egyptian folkloric dances, in particular from the Saiidi region in Upper Egypt. The traditional male dance is called tahtib (also transliterated tahteeb) and it is a martial art, accompanied by music, in which the two fighters use a stick, called assaya in Arabic, to hit and fence each other’s hits. Tahtib as a martial art must have ancient roots as images of men fighting with sticks have been found depicted on ancient Egyptian stones.

[...]

Later, (from the 1960s and 70s) Tahteeb was adapted for the stage by Mahmoud Reda, an Egyptian dancer and choreographer who travelled across Egypt observing traditional dances, which inspired his choreographies that were adaptations of these dances for the stage.

Women incorporated the stick as a belly dance prop, and used it to imitate this typically masculine dance in a flirtatious and cheeky way. Nowadays, dancing with an assaya is often part of raqs sharqi shows. This dance is called in Arabic raqs al assaya, literally cane dance.

The stick used by women is usually a bamboo cane (thinner comparing to the one used for tahtib), which may have a hooked end, and it can be decorated with sequins. If the dance is folkloric, usually the assaya will be a plain bamboo cane; otherwise, for raqs sharqi performances, it can be sequinned. The performer usually wears a long tunic (also called in Arabic galabeya), a hip scarf with coins and a head scarf, which is traditional but it is also useful to keep the assaya in place when balancing it on the dancer’s head.

Saidi Rhythm
The rhythm that usually accompanies raqs al assaya is the saidi rhythm (read more on saiidi on our Arabic rhythms page), which is also used for tahtib. This is why, belly dancing with the cane is often referred to as saidi dance. Saiidi is a strong and earthy rhythm; hence, the movements associated with it must also be strong, very well grounded, with a proud posture and movements pointing to the earth (for example, movements are often performed on flat or semi flat feet rather the standing on feet balls)."...
-snip-
Here's a video of Saida dancing:

Saidi with cane - Jazíra Bellydance



mahajazira, Published on Jun 25, 2014
-snip-
Click https://www.youtube.com/watch?v=heITzhaCLYs for a YouTube video of a woman dancing "raqs Al assaya with two sticks.

Also, click http://zumalayah.blogspot.com/2013/04/information-three-videos-of-egyptian.html for a post on my Zumalayah blog entitled "Information About & Three Videos Of Egyptian Saidi Stick Dances"


Thanks for visiting pancocojams.

Visitor comments are welcome.

Book & Article Excerpts Of African & Haitian Rara Sources Of Baton Twirling & Other Twirling Performances

Edited by Azizi Powell

This pancocojams post provides six excerpts from book chapters or online articles about the influence of the Kongo (Central African) culture and/or West African cultures and the influence of Haitian Rara celebrations on baton twirling and other twirling performances.

The content of this post is presented for historical, folkloric, cultural, entertainment and aesthetic purposes.

All copyrights remain with their owners.

Thanks to all those who are quoted in this post.
-snip-
This post was originally published in 2015 with the title "African Sources Of Baton Twirling & Other Twirling Performances".

This revised post included no videos.

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BOOK AND ARTICLE EXCERPTS
These excerpts are presented in no particular order. The excerpts are numbered for referencing purposes only.

Excerpt #1
From THE KONGO POSE AND BATON TWIRLING
From https://books.google.com/books?isbn=0253217490 Africanisms in American Culture edited by Dr. Joseph E. Halloway pp. 12-13
"Robert Farris Thompson's essay (chapter 10) contributes to our understanding of Africanisms found in African American aesthetics, revealing that the majority of African retentions in African American folk art are Bantu in origin. Thompson shows that the impact of the Kongo on African American culture contributed to the foundation of black American aesthetics and musical culture in the New World. The Kongo influence contributed to the rise of the national music of Brazil (the samba) and to one of the most sophisticated music forms in the United States (jazz).

Thompson demonstrates that Kongo influences are widespread.

...The African Haitian ritual dancing based on a dance form found in northern Kongo was adopted by the baton-twirling "major jonc" called rara. Its members twirl batons and strike a Kongo pose when confronting a rival group. it is hypothesized that in Mississippi. where many Kongo slaves resided, such groups had a major impact. Mississippi has become a world baton-twirling center".

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Excerpt #2
From http://www.asarimhotep.com/index.php/articles/18-posture-and-meaning-interpreting-egyptian-art-through-a-kongo-cultural-lens publisher Asar, 27 January 2012
"The book Africanisms in American Culture edited by Dr. Joseph E. Halloway documents some of the Africanisms that have survived in the Americas during and after the enslavement period. A good number of the surviving Africanisms that have survived are in the form of poses...

Telema
The most dramatic incursion of a Kongo gesture in Haiti is the reemergent biika mambu stance. This stance is frequently called telama lwimbanganga in Northern Kongo. This pose is identifiable as the left hand on the hip and the right hand forward. This became the drum majorette pose that gave way to baton twirling in the United States.

In Kongo, placing the left hand on the hip is believed to press down all evil, while the extended right hand acts to “vibrate” the future in a positive manner. Important women used this pose at dawn to “vibrate positively” the future of town warriors. Advocates used its power to block or end a lawsuit (Halloway 2005: 298). One will notice that this is the pose for the famous Supremes song, “Stop in the name of love.”

.... The telema stance has to do with power and mediating force (power grasped and evil contained).

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Excerpt #3
From https://books.google.com/books?isbn=1598842439 Martial Arts of the World: An Encyclopedia of History and Innovation, Volume 2 , edited by Thomas A. Green, Joseph R. Svinth, pp 45-46
"On Haiti the Rara parade is a pre-Lenten (Carnival) event. It features competing groups of singers and musicians playing homemade instruments. The content is typical of Carnival in general and the Caribbean varieties in particular. Each Rara band is led by a major jonc, also major jonk, majo jonk. The major jonc carries a baton known as a jonc. The jonc is 100 to 137 centimeters (39 to 54 inches) in length and is brandished and twirled much as a drum major twirls his baton in a military or collegiate marching band.

Like the musical instruments carried by the bandsmen, the jonc is supernaturally strengthened. In Haiti, the practice of supernaturally strengthening fighting sticks (mayombo), thereby giving the owners both protection and ability to defeat opponents has been documented as early as the eighteenth century (Debien 1972). The major jonc’s skill at twirling is believed to be related to his magical and fighting skills. Thus he is that figure that folklorist Roger Abrahams (1983, xvi), labeled “the man of action, the physical adept one”. Major jonc are in fact accomplished stick- fighters. Practical use of this talent may be tested, too, because when one of the bands encounters another, the conversation can move from verbal or musical duels to actual fighting.

According to Haitian folk history, the baton work that is acquired by Africans from the indigenous Tainos who used the stick as both a weapon and a dance prop. Nonetheless, the most convincing contemporary analysis of baton twirling both by major joncs and baton –twirlers in North American athletic events traces it to northern Kongo sources. (Thompson 2005, 298-299)

In some parts of Haiti, village competitions of wrestling (pinge’) were also held in connection with Rara. (Courlander 1985, 108)

The Haitian expression of African spirituality is Vodun(also Vodu and Vodou), whence comes the English word voodoo . The word comes from the Fon vodu (“spirit”). Vodun incorporates religious traditions from West and Central Africa...

Like Lucumi, Vodun has a warrior deity derived from the Yoruba orisha Ogun, who in Haiti is known as Ogou. As elsewhere, Ogou fights with a machete or sword. The devotee who is “ridden” (possessed by) Ogou the lwa during a Vodun rite takes up the machete dedicated to Ogou and performs an aggressive dance filled with chopping and stabbing movements, as in Lucumi, and also punches, kicks, grunts, and growls. (Daniel, 2005, 163). "

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Excerpt #4
From http://www.bookmanlit.com/rara.html
"In Haiti, rara is a kind of marching band festivity open to the public and observed mostly during the Christian Easter season. It is connected to Nago Egougoun society practices and to Kongo military tradition. Among the Nago people, the word rara means eulogy. An essential part of rara involves a walk to the cemetery, mazi, or lakou to pay respect and to eulogize former members of the rara. After paying respect to the Ancestors, the rara is viewed as having been fortified (chaje).

Nago tradition runs deep in rara and can be seen in the manner that the rara members dress. They often cover their entire bodies just as it has traditionally been done in Egougoun celebrations. Men can wear dresses and skirts because in Nago Egougoun celebrations, women were not allowed to participate but they could be represented by men. ...the clothing and hip movements of the baton twirlers is reminiscent of female role play in Egougoun, called Gougoun in Haiti. Today in Pestel Haiti, there is a kind of rara in which its male members always dress in female clothing.

In raras, like in Egougoun celebrations, one member carries a whip to ceremonially maintain order in the rara. In Haiti the whip used is the fwèt kach, a slave whip. It is cracked repeatedly in the air where it is said to be whipping zombies, a reminder of the suffering of our fore-parents who were once enslaved on the island."...

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Excerpt #5
From http://rara.wesleyan.edu/rara/carnival/analysis.php "Rara as a Form Of Carnival"; Analysis - image of Rara in New York
"Rara season overlaps with Carnival season, and so Rara activity begins on January 6th, known on the Christian calendar as Epiphany. Rara bands usually parade as small carnival bands, and then continue to parade after Carnival, during Lent, until Easter. The "tone," or "ambiance," of Rara parading is loud and carnivalesque, and if you don't know about the hidden, religious core of Rara, you'll think that Rara is simply a matter of young people exhibiting their talent at singing and dancing in a boisterous, rebellious atmosphere. As in Carnival, Rara is about moving through the streets, and about men establishing (masculine) reputation through public performance. Rara bands stop to perform for noteworthy people, to collect money. In return, the kings and queens dance and sing, and the baton majors juggle batons-and even machetes! Rara costumes are known for their delicate sequin work, which flash and sparkle as the batons twirl. There is a lesser-known costume, too, of colorful streaming cloth hung over knickers and hanging from hats.

The competitive music and dancing, the sequins, and the cloth strips are all echoes of festival arts in other parts of the Caribbean. In its orality, performative competition, and masculinity, Rara shares similar characteristics with other Black Atlantic performance traditions like Carnival, Junkanoo, Capoeria, Calypso, Blues, Jazz, New Orleans' second-line parades and Black Indians' parades, Reggae, Dance Hall, Hip-Hop and numerous other forms. Unlike many Afro-Creole masculinist forms, however, Rara is explicitly religious.

(Excerpted from chapter one of Elizabeth McAlister, Rara! Vodou, Power, and Performance. University of California Press, 2002.)
-snip-
This passage is reformatted by me to enhance its readability. Italics were added by me to highlight those words.

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Example #6
From https://news.google.com/newspapers?nid=1499&dat=19460807&id=qj4aAAAAIBAJ&sjid=IyUEAAAAIBAJ&pg=1446,3152804&hl=en [description of a competition of 200 drum majors and drum majorettes from six states, featuring Major C. W. Boothe from Chicago]; Milwaukee Journal August 7, 1946
“Boothe, a professional baton twirler and teacher for 55 years, has seen twirling grow from a minstrel show novelty to a natural enthusiasm shared by youth and adults...

Little Charlie Boothe was only 6 when he saw his first baton twirling. It was in Hannibal, Mo. A Negro performer in a minstrel show did the twirling and it so enchanted young Charlie that the boy followed him about town as long as the show stayed. When he left he began practicing the tricks in his back yard.

A year later he had mastered that performer’s comparatively simple routine and added many tricks of his own.

The lad practicing in his back yard didn’t know then-but his research has since taught him- that twirling began in Siam where spears where tossed and twirled in ceremonial dances. A recent news photograph showed natives of the Belgian Congo twirling small tree trunks. The familiar ball at the end of the baton was a bit of root. The baton familiar to American audiences was a British mace...”
-snip-
The sentence that in one year a seven year old White boy surpassed a Black adult performer in the art and skill of baton twirling strikes me as a conclusion that was heavily influenced by racism. I also believe the statement that "twirling began in Siam" also owes a lot to the racist attitude that credit for any accomplishment should be assigned to any race before Black people are acknowledged as having anything to do with that accomplishment.

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Visitor comments are welcome.

Wednesday, August 29, 2018

Information About The Meaning Of Ivory Coast's "Zaouli de Manfla" Fast Foot Work Mask Dance

Edited by Azizi Powell

This pancocojams post showcases two videos of the Ivory Coast's Zaouli dance and presents information compiled from several internet articles about the meaning of that dance. A comment exchange about this dance from a YouTube video's discussion thread is also included in this post.

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 quoted in this post. Thanks also to all those who are featured in these videos and thanks to the publishers of these videos on YouTube.
-snip-
Discussion threads of most YouTube videos about the Zaouli dances include comments about that dance being the source of or very similar to fast footwork dances in the United States and elsewhere in the African Diaspora.

I haven't included any of those comments in this post. However, for a 2012 pancocojams post with that focus, click http://pancocojams.blogspot.com/2012/02/shared-aesthetics-ivory-coast-mask.html for the 2012 pancocojams post "Shared Aesthetics: Ivory Coast Mask Dances & Chicago Footwork". Some of the content from that 2012 post is included in this post.

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SHOWCASE VIDEOS
Example #1: Zaouli de Manfla



KONAN947, Published on Feb 26, 2010

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Example #2: Mask collective + Festima - Zaouli de la Côte d'Ivoire




Mask Collective, Published on Mar 16, 2014

Interview avec la troupe Zaouli de la Côte d'Ivoire, de la ville de Bouaflé
Réalisée par Mask Collective lors du Festima 2014, Dédougou, Burkina Faso.
pour plus de vidéos sur les masques
-snip-
This video features French narration with English sub-titles.

A few comments from this video's discussion thread are given below under Excerpt #7.

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EXCERPTS ABOUT THE MEANING OF IVORY COAST'S ZOULI DANCE
These excerpts are given in no particular order and are numbered for referencing purposes only.

Excerpt #1:
From http://dailyscience.be/28/08/2014/la-vitalite-des-masques-est-toujours-intense-en-afrique-occidentale/ LA VITALITÉ DES MASQUES EST TOUJOURS INTENSE EN AFRIQUE OCCIDENTALE; Publié le 28 août 2014; par Raphaël Duboisdenghien
"[...]

Le masque le plus célèbre
Le masque «Gyela lu Zauli», qui illustre la couverture du livre, est le plus célèbre parmi ceux qui se produisent en milieu guro. Son apparition date des années 1950. Elle est associée à une histoire dramatique qui fonctionne depuis comme une légende. Celle d’un père qui nourrit une passion peu commune à l’égard de sa fille. L’homme se conduit en mari jaloux et possessif. Pour avoir son enfant toujours auprès de lui, il l’entraîne dans la forêt sacrée interdite aux femmes. Et la jeune fille périt.

Le masque «Gyela lu Zauli» est censé la représenter et honorer sa mémoire. L’histoire est aussi marquée par un autre événement douloureux. Le meurtre d’un porteur du masque, danseur exceptionnel, commandité par un envieux désireux de procéder à des pratiques occultes.

Ces deux récits contiennent tous les ingrédients qui génèrent l’admiration chez les Guro. Il y a la gloire, la célébrité, la beauté et le talent recherchés par tous. Ainsi que l’audace de braver les interdits. Tout en étant un masque de la première catégorie, Gyela lu Zauli se voit ainsi nimbé du halo inquiétant du surnaturel. On sent confusément que l’on pénètre dans une sphère plus dangereuse. Celle des manipulations sorcières stimulées par les caractères d’exception.»

Récupérer le prestige perdu
La danse rythme les sorties masquées des Guro. Les porteurs sont tous des hommes… «Je perçois les femmes comme un véritable étalon de mesure de l’importance des masques. Car plus ils sont sacrés, moins elles y ont accès. Au sommet de cette échelle se situent ceux qu’elles ne peuvent voir sous aucun prétexte. Au mieux peuvent-elles entendre confusément les sons inquiétants qu’ils émettent lorsqu’ils apparaissent devant les hommes alors qu’elles sont terrées dans leur maison. Plus les masques sont sacrés, plus ils sont dangereux. Et plus les femmes les craignent.»

Tous les hommes ne portent pas un masque… «Au-delà de la démarche périlleuse qui consiste à revêtir un masque et son costume, un homme engage sa vie ou celle d’un membre de sa famille. En effet, il n’est pas rare que des actes de sorcellerie soient relatés. Ils consistent à sacrifier quelqu’un, pour accroître ses capacités techniques ou surnaturelles. Au cours des recherches, j’ai défendu la thèse que les hommes guro récupéraient, par le biais des masques, le prestige perdu par l’abandon des activités liées à la guerre et à la chasse.»
-snip-
Google translate from French to English
"The most famous mask
The mask "Gyela lu Zauli", which illustrates the cover of the book, is the most famous among those that occur in guro environment. Its appearance dates back to the 1950s. It is associated with a dramatic story that has since operated as a legend. That of a father who feeds an unusual passion for his daughter. The man behaves like a jealous and possessive husband. To have his child always near him, he takes him [her] to the sacred forest forbidden to women. And the girl perishes.

The mask "Gyela lu Zauli" is supposed to represent her and honor her memory. The story is also marked by another painful event. The murder of a mask-wearer, an exceptional dancer, ordered by an envious person who wants to practice occult practices.

These two stories contain all the ingredients that generate admiration among the Guro. There is the glory, the celebrity, the beauty and the talent sought by all. And the audacity to brave the forbidden. While being a mask of the first category, Gyela lu Zauli is thus covered with the disturbing halo of the supernatural. One feels confusedly that one enters a more dangerous sphere. That of witch manipulations stimulated by the characters of exception.

Recover lost prestige
The dance rhythms the masked outings of Guro. The porters are all men ... "I see women as a true standard for measuring the importance of masks. Because the more they are sacred, the less they have access to it. At the top of this scale are those whom they can not see under any pretext. At best they can hear confusedly the disturbing sounds they emit when they appear in front of men while they are holed up in their home. The more sacred the masks are, the more dangerous they are. And the more women fear them. "

All men do not wear a mask ... "Beyond the perilous step of wearing a mask and his suit, a man commits his life or that of a member of his family. Indeed, it is not uncommon for acts of witchcraft to be recounted. They consist in sacrificing someone to increase their technical or supernatural abilities. During the research, I defended the thesis that men guro recovered, through masks, the prestige lost by the abandonment of activities related to war and hunting."

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Excerpt #2
From http://www.clas.ufl.edu/jur/200003/papers/paper_azoubel.html
Journal of Undergraduate Research University Of Florida
Volume 1, Issue 6 - March 2000; Juliana Azoubel; "The Cote d'Ivoire Mask Tradition from the Viewpoint of Dance Ethnology: Dancing the Gap between Spirit and Human Worlds
"The Cote d'Ivoire (the Ivory Coast) is the origin of several of the most important and interesting masking traditions in Africa. In the West, these masks have been viewed primarily as art objects. Through their embodiment in dance, however, masks are the way many Ivorians communicate with supernatural forces and bring power to the community...

[...]

THE ZAOULI MASK AND HER FLIRTATIOUS SISTER FLALI
According to the Guros, the masks that did not originate from the animal spirits are entertainment masks, and among them are Sauli (Zaouli), Flali and Wali. The essential dance activity for the Zaouli mask is rapid-fire movement of the feet. Dictated by the rhythm of the drums for both the Zaouli figure and the head movements of the forest dancers, this dance is high speed and very dynamic (Poynor). "Saouli masks are topped by multi-figured compositions, the subjects of which often have nothing to do with the dance itself. The purpose of the superstructure seems to be to introduce an element of surprise into the entertainment and to increase its attractiveness"(Poynor 173)...

Zaouli is female yet the Zaouli performer is always male. The cross-gender mask performs on many different occasions to amuse people: during holidays, for entertainment of visitors to the community, to collect food from the community members during the initiation process, and also in some funeral ceremonies. Zaouli has a young sister called Flali. This mask, also performed exclusively by men, shares many characteristics of Zaouli, including the actual mask. It is entirely the dance activity that distinguishes Flali from her sister, Zaouli. Flali shows more charm and flirting in her performance. She uses a high proportion of upper back articulation in her dance, contrasting the forceful footwork-based that characterizes Zaouli. The performance of Flali is a deep play on movement characteristics of a woman and the dance becomes exaggeratedly feminine and more delicate than a female dancer's, and of Zaouli's for that matter."...

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Excerpt #3
From https://thekidshouldseethis.com/post/zaouli-de-manfla-the-zaouli-dance-of-the-ivory-coast-west-africa
"Zaouli de Manfla, a mask dance from the Gouro or Kweni culture, filmed by African dance teacher Konan Kouakou David in the Republic of Côte d’Ivoire, West Africa. Of the tradition, he writes:

Zaouli is a popular mask dance created by Gouros in the fifties. Legends at the origin of the Zaouli mask and dance are diverse, but all say that they were inspired by a very beautiful girl named “Djela Lou Zaouli”, daugther of Zaouli...

Each Gouro village has its local Zaouli dancer, who performs during funerals or parties. A musicians and singers orchestra first call the Zaouli dancer by its music. The dancer wearing the mask covered by a cloth then arrives after a predecessor who unveils the mask. After the beauty of the mask has been shown to the audience, the dancer performs extremely quick and rhythmical steps according to the flutes of the orchestra. Hands and feet follow a common choreography improvised by the dancer according to the music."

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Excerpt #4:
From https://en.wikipedia.org/wiki/Zaouli
"Zaouli is a traditional dance of the Guro people (who speak the Guro language) of central Ivory Coast. The Zaouli mask, used in the dance, was created in the 1950s, reportedly inspired by a girl named "Djela Lou Zaouli"[1] (meaning "Zaouli, daughter of Djela").[2] However, stories on the origins of the mask are varied, and each mask can have its own symbolic history.[3]

Each Guro village has a local Zaouli dancer (always male), performing during funerals and celebrations.[1] The dance is believed to increase the productivity of a village that it is performed in, and is seen as tool of unity for the Guro community, and by extension the whole country.

In popular culture
The Sri Lankan-English rapper M.I.A. included a clip of a Zaouli dance in her video "Matahdatah Scroll 01: Broader Than A Border".

****
Excerpt #5:
From https://www.cnn.com/2016/10/11/africa/zaouli-mask-dance/index.html Possession obsession: What happens when you don the Zaouli mask
By Earl Nurse and Thomas Page, for CNN Updated 4:41 AM ET, Tue October 11, 2016
..."Donning a Zaouli mask has a profound effect on its wearer. The process is taken seriously and filming it is prohibited. Only the initiated are permitted to bear witness -- and women are strictly forbidden.
"The bearer changes," Anoh explains, "the spirits take control of him. He is separated from all that happens around him... Once he will put the mask on, it will not be him again that will be dancing, but the spirit that will possess his body.

[...]

In Ivory Coast, people consulted masks when danger was coming, the chief explains. Some masks protect villages, some counter bad spalls; others are used to rejoice.

Each Zaouli mask can take as long as six days to carve. Made of Yaranza wood, the process is secretive, each artisan using their own approach. Ouagene Coulibaly, president of the Association of the Village Artisans of Bassam, will show CNN his work in progress, but refuses to divulge how he finishes his unique and sacred works.

When it happens the dance is fast and furious, the masked man churning up dust beneath his feet. Provoked to keep up the pace by his dance partner, it's a superhuman effort guided by the spirits.”...

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Excerpt #6:
From https://www.youtube.com/watch?v=JgbmeB5HJrs ZAOULI au funeraille de IRIE_DOBO à Bédiala, published by som2bedi on Aug 21, 2012
[selected comments]
1. Baba Basen, April 2018
"and you play this when someone dies? (herd it somewhere)"

**
REPLY
2. bi tra dieudonné, June 2018
"No sometimes in ceremonies of baptism, wedding ceremony and even in front of authorities. So no only if someone dies. Am gouro and am proud of being it"
-snip-
Given the sentence before it, I believe that this commenter meant “So [this dance is not only [performed] if someone dies”.

****
Excerpt #7:
From https://www.blogger.com/blogger.g?blogID=5893219718076521675#overview Mask collective + Festima - Zaouli de la Côte d'Ivoire, published by Mask Collective on Mar 16, 2014

[selected comments]

1. senhuan, 2015
"What's the guy doing behind the masked dancer? Is he there for a purpose? Or just happened to want to be there?"


**
2. REPLY
cabrioletcook1, 2017
"He’s narrating the story of the dance"

**
3. Merveil Meok, 2016
"Translation:
First man: Our dance is called the Zaouli (pronounced "za-U-lee"). We are from the Ivory Coast, precisely from a town called Bouaflé (pronounced "bwa-flay").
Once upon a time, the dance originated with farmers who gathered at night to dance after a long day of work in the fields. The dance is named after the daughter of its creator. She was called Djella Lou Zaouli (pronounced "jay-lah lou za-u-lee"), which means (Djella daughter of Zaouli).

------
Second man: The Zaouli is international because the dance has now been shown around the world. In the Ivory Coast, all the best dancers are looked at and only one is chosen to be the best among the best. This dancer here was named the best."

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Visitor comments are welcome.

Sunday, August 26, 2018

Five YouTube Videos Of South African Stick Fighting

Edited by Azizi Powell

This is the third post in an ongoing pancocojams series about African stick fighting.

This post showcases five videos of South African stick fighting. These featured examples are from Bhaca, Xhosa, and Zulu ethnic groups.

Selected comments from one video's discussion thread are also included in this post.

Additional videos on this subject or links to videos on this subject can be found in other pancocojams posts in this series.

Click the "African stick fighting" tag below for other posts in this series.

The content of this post is presented for historical, cultural, and educational purposes.

All copyrights remain with their owners.

Thanks to all those who are featured in these videos, all the producers of these videos, and all the publishers of these videos on YouTube.

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SHOWCASE VIDEOS
These videos are given in chronological order based on their publishing dates with the oldest dated video given first.

Video #1: xhosa stickfighting competition



Nick Aldridge, Published on Nov 29, 2010

xhosa stick fighting tournament in mfuleni township, cape town south africa.

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Video #2: Goodbye Bafana - Stick-fight Scene



BlackXades, Published on Jul 24, 2012

Goodbye Bafana is a 2007 drama film, directed by Bille August, about the relationship between Nelson Mandela and James Gregory, his censor officer and prison guard, based on Gregory's book Goodbye Bafana: Nelson Mandela, My Prisoner, My Friend.

This is the stick-fight scene
-snip-
From https://timesofindia.indiatimes.com/What-is-Bafana-Bafana-and-how-does-it-get-its-name/articleshow/5935771.cms

The word "Bafana" is a Zulu word , plural for "umfaan", meaning boy. There is also a movie about Mandela in jail titled "Goodbye Bafana. Bafana Bafana is the national football team"...
-snip-
The word "football" here means "soccer"
-snip-
Here are some comments from this video's discussion thread, with numbers added for referencing purposes only:
1. rasnac, 2017
"This is Nguni stick fighting if I'm not mistaken."

**
REPLY
2. the red baron, 2017
"rasnac you're right...it is a Zulu stickfighting art...."

**
REPLY
3. Aoi Kawasaji, 2017
"Nope, that's an induku. If anything, it might not be. Zulu word for a generic stick is also stick."

**
4. MrBracey100, 2017
"Very nice to see some African stick fighting even if it was a brief scene. Makes me lament for the Black Panther movie Wesley Snipes wanted to do for so long before he ended up doing Blade. He wanted his Black Panther to showcase African centric martial arts like stick fighting and capoeira. It would have been sweet. I get tired of always seeing either wushu or TKD in films."

**
REPLY
5. alvi syahri, 2017
"MrBracey100 yeah, as much as I like kung fu, it's nice to see something different"

**
REPLY
6. MrBracey100, 2017
"alvi syahri I think that's part of the reason why films like On Bak and The Raid Redemption play so well here. Folks enjoy seeing something new from martial arts cinema."

**
REPLY
7. KillerSalmon, 2018
"The Black Panther movie had a LEETLE bit of Zulu stick fighting, but only insofar as the shield that T'Challa used was based off of the forward stick used in the art - however, that was about it, since he basically swung for the fences with each shot instead of doing setups."



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Video #3: Nguni stick fighting



Expresso Show, Published on Sep 10, 2013

In celebration of our South African heritage we have the team from Ligwalagwala FM live in studio this morning.

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Video #4: Bhaca Stick Fighting - iintonga - Kwa Bhaca - Mount Frere - eHlane - KwaNomgxabha 3



amaBhaca, Published on Dec 4, 2014

www.Bhaca.co.za Bhaca Stick Fighting - iintonga - Kwa Bhaca - Mount Frere - South African (26 December 2005) eHlane - KwaNomgxabha ukuphuma kwamaKrwala akwa bhut' Sandile Jali - AmaNgelengele - AmaZawa - kwa Makotana evenkileni.

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Video #5: FIGHT AT WEDDING 3 - BANDA GETS BEATEN AGAIN ( 2009)


siyabonga makhathini, Published on Feb 15, 2018

It is customary in a Zulu wedding that warriors from the grooms area fight against warriors traveling with the brides Entourage.Its way for warriors to get to know each other better, learn to respects their new brothers because it is not just a marriage between two people but two communities.After the fight they all go and eat and drink together as one group sharing warrior stories and creating new alliances

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Visitor comments are welcome.

South African Stick Fighting (Excerpts From Three Online Paper/Articles And Selected Comments From Three YouTube Discussion Threads)

This is the second post in an ongoing pancocojams series about African stick fighting.

This post quotes excerpts of three articles and selected comments from three YouTube discussion threads about stick fighting in South Africa.

This is only a small sample of the online articles and comments about this subject.

Click the "African stick fighting" tag below for other posts in this series.

The content of this post is presented for historical, cultural, and educational purposes.

As a reminder, pancocojams is a non-commercial cultural blog that I curate on a volunteer basis. I publish excerpts of articles and book excerpts, many of which are obscure and difficult to find, with the hope that this blog's visitors will read the entire articles or books that are quoted.

All copyrights remain with their owners.

Thanks to all those who are quoted in this post.

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ARTICLE EXCERPTS
These articles are given in no particular order and are numbered for referencing purposes only.

Excerpt #1:
From https://www.sahistory.org.za/article/nguni-stick-fighting
"Introduction

This article looks at the history of an indigenous Nguni sport known as Stick Fighting, which was popular in the Nguni ethnic group (Zulu). It further looks at how the sport has evolved over time. The word or term Nguni is the collective name for ethnic groups of Bantu people residing in the Southern Africa. These groups are divided into Southern Nguni and Northern Nguni. The Southern Nguni consist of Zulu, Ndebele and Swazi people and the Northern Nguni comprises of Xhosa, Bomvana, Mpondo and Thembu people.[i]

Zulu Stick fight

Origins

There is a great debate about the origins of this indigenous sport within the Zulu group, some trace it to the times of Shaka Zulu and others to Amalandela, the son of Gumede, around 1670. However it is generally agreed that during Shaka’s reign this sport was used as a way of training young men for war and self-defense.[ii] This was extended to the times of Dingaan, who was Shaka’s successor. As new leaders emerged the purpose of stick fighting also changed. During the reign Cetshwayo who succeeded Dingaan, it was used as means of resolving internal disputes, however, there were protocols as it was not intended for the purposes of killing.[iii]

Stick fighting forms an integral part of Zulu cultural tradition, fulfilling as it does an important teaching purpose. As such, for Zulu males, stick fighting is pivotal in upholding a social system that constructs accepted roles and modes of behavior.[iv]

Participants

Participation is restricted to males only, there is no specific age for when one should start practicing and generally boys learn the activity while they are heading the cattle. This provides an opportunity for them to fight their way up to the position of leadership among other herders. Young boys learn this by observing and imitation. The boys also use the opportunity to sharpen their skills. At this stage they use small tree shrubs instead of real sticks. Real sticks are allowed, but when they are used; the fighters avoid hitting each other’s heads.[v] Following this stage young men graduate and participate in public ceremonies such as social gatherings (inter-district stick fighting competitions) and weddings. Fighters and their sticks are usually ritually prepared using traditional medicine prepared by a herbalist.[vi] The fights are officiated either by Induna yenzinsizwa (headmen of young men also referred to as igoso; or umphathi wezinsizwa (war captains) officials who ensure that things do not get out of hand.

Weapons

Traditionally, men own their fighting sticks, which are stored in the roofs of their houses. In most cases a man would own a variety of sticks from which a selection would be made by the owner before a fight. At the age of 16 a Zulu boy would be taken into the forest by his father where he would cut his own stick from the trees. By the time the boy reaches adulthood he may acquire further sticks, either making them himself or having sticks made by a specialist.[vii]

The activity of stick fighting activity requires the use of three different sticks, each with a different purpose. The first is used for striking (Induku), the second for defense i.e. body protection (Ubhoko), this stick long comparing to the one for striking; there is also a short stick (umsila) accompanied by a small shield (ihawu) to protect the knuckles.[viii]

Induku is described as “ a strong stick or shaft of wood without a knob. The stick is carved smooth and used specifically for stick fighting. The length of the induku depends on the physical stature of its owner, but is generally about 88 centimetres in length. The induku’s circumference increases slightly from bottom to top and the extra weight that the head carries enhances the mobility of the stick during offensive manoeuvres. A piece of cowhide can be tied around one end of the stick to secure the fighter’s grip on the weapon, and the whisk of a cow’s tail can be tied around the bottom of the stick to hide a sharp point. Although this sharp point can be used for stabbing, doing so is considered inappropriate during an honorable stick fight.”[ix]

Ubhoko is described as “ a long, smooth stick that tapers down to a sharp point. As a defensive weapon, it is skilfully manoeuvred with the wrist of the left hand and used to protect the body of a combatant from the opponent’s blows. Although its length depends on the physical stature of its owner, the ubhoko is meant to ensure protection from head to foot, so is notably longer than induku. Ubhoko is generally about 165 centimetres in length. Although the ubhoko could be used as a stabbing weapon; in a stick fight, protocol demands that it be used exclusively for the purpose of defense”[x]

Umsila is described as being “ held in the left hand together with ubhoko. Not used for fighting as such, it is used instead to uphold the small shield, or ihawu, that protects the left hand. Fighters in Nongoma maintain that umsila is also used to protect the face during a stick fight. As an aesthetic accessory, Nongoma fighters tie strings of antelope skin to the top of umsila.”[xi]

Ihawu is described as “a relatively small and oval-shaped piece of cow skin, held in the left hand. During Shaka’s regime, warriors were ranked by means of the colour of the shields they carried. There is no set size for ihawu, although it should be large enough to protect the hand and wrist and small enough not to impede on ubhoko’s mobility. As a rule, however, the shield used for stick fighting is between 55 centimetres and 63 centimetres long and 31 to 33 centimetres wide.”[xii]

The fight

Before the fight begins two fighters face each other and tap one another’s shield or sticks. This is viewed as fair sportsmanship. In other instances this rule is not followed as the stick fighters launch the fight by landing chopping blows. These blows are dangerous as they are meant to overpower the opponent, resulting in serious injuries.

Some of these injuries or permanent marks assume added importance as they are viewed as badges of honour, the most highly recognized being a scar on the head which is known as inkamb’ beyibuza (wherever you go people ask what’s that from?).

The evolution of stick fighting

In time this also meant a change from stick fighting being used as a way of training young men for war and self-defense, to a sport that at times could get out of control. This has occurred when hostilities have gone beyond the sporting grounds, placing the lives of non-participants’ under threat. This is one of the reasons why in past centuries the sport took place in an open space away from the homestead. The character of the fight also depends on the mood and occasion as some fights take place at organized tournaments. Stick fighting is also popular during weddings or at young women’s coming out ceremonies called Umemulo. Young and single participants known as Amasoka are not only hoping to win, but also to make mark for themselves by being favorites and being popular among the girls. [xiii]

Last updated : 26-Jun-2018
This article was produced for South African History Online on 05-Oct-2016"

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Excerpt #2
From www.arts.uzulu.ac.za/2008/fulltext/Z%20J%20Mashiyane.doc [cached online to a non-secure site; security warning]
STICK FIGHTING AMONG THE NDEBELES By Z J Mashiyane
Department of African Languages
University of Zululand
Faculty of Arts, University of Zululand [2008]

"Abstract
This article looks at the practice of stick fighting as was practised and engaged in by Ndebele young boys. It analyses the game by looking into the methods and rules used in the game and other cultural practices linked to this game. It further attempts to check how much value is still attached to this game by the modern Ndebele people.

Introduction:
The game of iintonga is perhaps as old as the Ndebele nation itself if not the Black nation itself. It has been found to be taking place in almost all the Black nationalities in one form or another. Consistent with the theme of this conference, the iintonga game can, in my view, in one way or another indicate to us how legitimate a claim for a land is. It is an indisputable fact that coming with the land restitution claims are a number of cunning twisted fakes with double agendas. Some of these become apparent when we find that more than one group of people present an application over the same piece of land. A machinery has to be put in place to check such irregularities. It is argued therefore, that cultural practices such as iintonga game can perhaps help us. If any individual were to claim to be a Ndebele, and was claiming a piece of land as the one that once belonged to his forefathers, it would perhaps be a good thing to test him and find out how much of the Ndebele culture he understands. The game of iintonga would be a good question.

The term “iintonga’’ as it stands is a plural form of “intonga” which means a stick. For a stick to be referred to as an intonga it has to be about a meter in length with a radius of about a centimeter and a knob not be too conspicuous on the other side. The intonga is used primarily as a sort of a walking stick. But perhaps the main reason of carrying an iintonga is that traditionally a male is not expected to undertake any form of journey empty handed. The question normally put forward is “What if a snake is encountered on the road?” A snake in this sense will refer to anything which wiould prove to be a menace, human beings included. An intonga should not be confused with idondolo. An idondolo is primarily used for balancing by the elderly when they walk. The latter is never used for fighting but is often used for correctional punishment especially by one’s elderly. It is common to hear a grandmother shouting, “Ngizakufak’ idondolo!”

The term “iintonga” in the context of this paper refers collectively to fighting sticks, where more often than not, the shield is also included without giving it any special mentioning.

This game is found to be taking place in almost all Black nationalities of our country and beyond our borders. Msimang (1985) says that this game is also popular among the Zulu people and is called “ukungcweka”. He further explains that, “Ukungcweka ngumdlalo omuhle wokufundisana induku” (Ukungcweka is a lovely game where people teach each other the stick fighting game)

Msimang (ibid) explains further that, “Anilweli udelisani kuphela nifundisana induku nemiphoso, nawo onke amangwevu okulwa.” (This really should not be taken as a fight but as a method of teaching each other the technique of stick fighting. ) (Msimang, 1985, 167)
[…]

Among the Ndebele there is an age group which is expected to engage in the iintonga game. This is a group of boys that has just graduated from herding cattle and is at the stage where they will go for initiation. The boys are going through a stage called “ukugwaba” and they themselves are called “abasegwabo” or affectionately as “abogwabani”. They are a group halfway between boyhood and manhood. They are fond of moving in a group and would always make their presence felt especially when there is an umnyanya, a traditional party. Their favourite umnyanya is known as “iqude”, which is a ceremony marking that a young girl is now a teenager. This group of boys will always chant lovely songs and entertain the guests with melodious music accompanied by the most current way of dancing.

Boys herding cattle also do engage in the iintonga game though to a lesser extent. These boys play iintonga more as a foretaste of things to come. More often than not, instead of using sticks they will use small tree shrubs. They use these on daily bases to perfect their skills in this game.

In some homes where there are girls only and no boys to herd the cattle, the job is done by girls. Such girls end up taking part in all activities engaged in by herd boys. These girls also learn the art of playing iintoga. Sometime they work this art to the pick of perfection. Many boys and sometime future husbands to these girls are often embarrassed when during times of misunderstandings an open challenge is advanced to them.

The iintoga game is never engaged in by grown up men. When men take up iintonga for each other, it is viewed in a much more serious light because that will be a fight.

The basic necessities
Just like any other game, the iintonga game follows certain procedures. For you to can play you need two very necessary items. One needs isibhuku, a knobkerrie and ikhande, a shield. A Ndebele youngster and his knobkerrie are inseparable. He always keeps it with him whatever the cost. When not under threat he will find a place around his waist and allow it to hang there. Normally a young tree is uprooted and both the bottom part and the handle are nicely carved. It is used specially for striking and never for shielding. The size of the knob depends on individual taste. It may be anything from a golf size to a coffee mug. As long as it will not be too heavy for the owner.

Knobkerries come in all shapes and sizes. The length of the handle also depends on individual taste. A long handle normally indicates that the owner is a coward who is always ready to strike standing far away and always be ready to run away. A short handle, known as “unokorwana” indicates that the owner is very brave and is not afraid of a close contact encounter. With this one you cannot stand far away from your opponent. You jump close to him using a method called “ukukhwela”.

The shield is for self protection against blows from the opponent. Shields for this group are different from those carried by Zulu warriors. This one is round-shaped with a radius of about the size of a ruler. All in all it is about the size of a 51cm television set with a long stick protruding both on the top and the bottom part.

It is made out of a cowhide with the hairy part facing the opponent. The inner part is well cushioned with soft sheep wool. The cushion is there to act as a shock absorber in case a blow lands on the shield. A player who is a regular participant in the game of iintonga this becomes evident from his shield as it will have areas without any hair. The shield is normally not carried around. It is only carried around when there is a likelihood for it to be used. It has a small string whereby its owner can carry it on his back.

The nature of the iintonga game
Several ways can be used to set up a game. The two most favourite ones are those of “imbizo” where several bouts of stick fighting will take place. The name imbizo is from the verb “biza” which means to call. So this is a call wherein the message circulate by word of mouth stipulating the day and venue of the “coming together.”

Another popular way is that one of meeting at a traditional party called iqude. Here the normal proceedings of the day carry on undisturbed until late after lunch. These youngsters normally travel in schools depending on the area they come from. It is not common for them to mix. This is because more often than not, they despise one another or are bearing grudges for each other, girls being at the centre of the whole squabble. All the abasegwabo who are guests of this ceremony will remain in their respective groups.

[...]

The actual game
The name "evadleni" is a special name used to refer to a competition of this nature. The meeting place is normally a flat plain. They identify a spot known as itjhatjhalazi, meaning a plain piece of ground. By this time they will all have their fighting material with them. A knobkerrie and shield is put at the centre of the plain. Once these have been put, it is a declaration that the games may begin. Any individual who feels like challenging an opponent would take the knobkerrie and shield and wild it in the air moving up and down showing how he would attack his opponent. The Ndebele people use the term “ukutjhagala”. This performance is an open challenge normally interpreted to mean, "let anyone worthy of his salt dare come and get me!"

Once the challenger starts performing the ukutjhagala movements, a prospective opponent from the other group will jump up with his own knobkerrie and shield. According to the rules of the game it has to be somebody more or less one’s own size and more or less your age. If the challenger is satisfied with the opponent he would move towards him which is a sign that the game is starting. There is no referee or umpire, nor is there any timekeeper. The bout would go on and on up until one of them is defeated. There is no winning in points, nor is there any technical knock out. There is only one win and it is a knock out.

[...]

A game may last any length of time. For many it lasts for less than a minute. Normally it depends on who strikes first and strike at a place which would force the opponent to retire. If the blow is a good one the opponent will immediately give up by falling on his knees or buttocks.

[...]

Part played by foul play and witchcraft
Just like in most games, no matter how much precautions are taken, foul play always surfaces here and there. The commonest of them all is to strike the opponent when he is down or has lost grip of his knobkerrie. This practice normally has devastating consequences. It may change the game into a free-for-all fight. Often this is an opportunity used by some opportunistic opponents who are bearing grudges against each other. Often for reasons totally outside this game. A grudge against someone who took one’s girlfriend is one of the most common ones.

One other common foul play is the use of umuthi. Depending on whether you believe in muthi or not but the Ndebele people believe there is considerable of muthi involved in the iintonga game.

This is usually caused by an over zealous quest to be the winner.

[...]

It is believed that the muthi used by some people on their knobkerries is so strong to such an extent that even if he may playfully throw a blow at you and miss you, you will feel dizzy and fall down. These and many other tricks are used as foul play in the iintonga game.

It is perhaps because of the above reasons that a knobkerrie is one's personal and very private property. A Ndebele youth would never lend it out to someone else. These are restrictions he gets from his inyanga.

Going together with these, his knobkerrie is never touched by females. It is believed that the muthi in it would be weakened (ukuphupha). If a female finds it lying down across her way she may for the above reason not jump over it. Young girls are taught from a young age to observe all these. They obey this up to their dying days even if they one day happen to get married they treat their husband's knobkerries with the same reverence. Girls are tested time and again on this. If a knobkerrie is lying across the door way through which a young lady wishes to pass, that door is as good as closed, she would not be able to remove it nor can she jump over it.

[...]

Conclusion:
With the advent of the new slogan “azibuye emasisweni” people tend to go back to their roots. They re-examine the type of lives which were led by their forefathers. All practices and activities which identified them as a nation must be revived. It is my belief that the iintonga game can be revived successfully with a big following. Modernisation and a few adjustments can be made. For instance I have in mind that the knobkerrie can be manufactured from a spongy material which will not be life threatening but which will be hard enough to knock someone down.
Perhaps among many lessons, the iintoga game teaches one to be disciplined especially in addressing people."...

****
Excerpt #3
From http://www.africanews.com/2016/08/25/south-africa-nguni-stick-fighting//
25/08/2016
SOUTH AFRICA
"Away from South Africa’s football, cricket and rugby pitches, a different sport is pulling crowds. This is the Nguni stick fighting known as Intonga in the local Xhosa language.

Despite being previously banned in some parts of South Africa, the sport is once again catching.

This martial art has been among the pastimes of the country’s teenage Nguni tribe herders. It’s a stick battle that can last up to five hours where the opponents take turns at playing offense and defense, and scoring points based on which body part is struck.

It can be a bloody sport, some competitors have died, but devotees wave off criticism, saying it encourages cultural expression. It is even said that Nelson Mandela himself coached the sport.

Organisers hope to have a tournament in future with players from across the continent, because this sport exists in in different forms amongst many African tribes and countries."

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COMMENTS FROM SELECTED YOUTUBE VIDEO DISCUSSION THREADS
These video discussions threads are given in no particular order and are numbered for referencing purposes only. The selected comments from those particular discussion threads are also numbered for the same purposes.

Video Discussion Thread #1:
From https://www.youtube.com/watch?v=UBAHfVdKwa0
Nguni Stick Fighting (South Africa); published by NTOKS09STLMO, on Feb 20, 2014
1. Tumisang Motsoahae, 2014
" I do not understand it is not only nguni people who do stick fight basotho and batswana do stick fight this is an african way of fighting in entertainment in sesotho we call it teiping ea ho kalla."

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Video Discussion Thread #2
https://www.youtube.com/watch?v=k1_FN5jUNsg
"Knobkerrie - The Zulu Fighting Stick; published by Scholagladiatoria, on Jun 8, 2018

[All of these comments are from June 2018]
1. mzamo try
"hi
A Zulu stick fighter here,

I am afraid almost everything you said is not true,but I don't blame you because it is the South African whites who write our Zulu(African) history, they have always had access to the resources of writing history books they write it the way they want it to be.Sadly the politics and factors around publishing books still favours them. However, the two sticks you have right there are called " izagila" (plural) and "isagila" (singular), another word is "Amawisa"(plural)and "iwisa" (singular), and they are not Knobkerries.

Those sticks were not used in the warfare and they are(were) not used in the Zulu stick fight as well. They are not used in the latter because they do not allow agility,force and precision if used with the knob is against your palm and if used the other way around you can permanently paralyse your fellow opponent .Those sticks are not deadly enough to be utillised in war. In the war they used a spear"umkhonto" that was arm long to enable manifestation of bravery and deadly moves acquired during the practice for war ( in the stick fight). The Zulu warriors were taught to stab the delicate body part so that their rivalry will not have strength, energy and time to strike back.Those parts are the neck and right under the rib-cage through the abdomen to aim for the heart.

Those sticks were, and are still, carried by men of a certain age to represent their maturity in the society. The age range of these men is(was) usually above 40 years, but this age was(is) also measured with social accomplishments, i.e having a house,a wife or wives, livestock and children who are becoming young men and women etc. Those stick therefore emphasize maturity in manhood/ adulthood.
A average Zulu male is suppose to have a stick so that he can enforce his views to his peers and using it in the stick fight. The older men had a bigger obligation of using an iron fist to run the household, having political views and maintaining his respect status crafted by elements of fear they already have for him. and the more he grows the bigger and heavier the stick. In essence those sticks you have where and are used to scare those around you to main order and respect. Think about it, if a well-built, big African man carrying the bigger knob you have there was to say, in a serious face and tone, stop saying whatever that you are saying because it is not morally or socially acceptable. in that time there was no constitution protecting you and beating people is socially accepted. In addition to that this man is a well known stick fighter and he has been in five deadly wars. Would you not take his command?"
-snip-
I reformatted this comment to enhance its readability.

**
2. Kevlarr The Barbarian
"The true name of the stick you have depends on the location your in. Different parts of Africa would call the same exact object different things."

**
3. Meme Commando Mike
"In South Africa we would call it a knobkerrie, as it is a generic term for a stick with a knob on one end. The knob size might make a difference in academically but not colloquially.

Also to give you an idea of how many different cultures we have: we have eleven official languages, only two of which are of European origin. Those other 9 languages are the ones most spoken and exclude several other indigenous languages"

**
4. Bearded Bjorn
"The longer Knobkerrie you showed is commonly used by herdsman. The longer shaft gave you a bit more heft when dealing with lesser cats up to cheetahs and the like. But like you said, I’d much rather have a spear. Though from what I know, spears were not usually allowed in settlements, hence the longer Knobkerrie being used while herding stock into towns and such."

**
5. CrashCourseHEMA
"We have similar weapons/tools in Australia from the various Aboriginal peoples. AMAZINGLY I believe some Central Australian groups used WOODEN SWORDS and PARRYING SHIELDS. Amazing stuff. Of course our neighbours in New Zealand would also be able to weigh in here...

EDIT: I can't speak for South Africa, but AFAIK there were similar controls down here as well (limited size, carry, etc)."

**
6. Junichiro Yamashita
"saun lee coetzee i read that zulu fighting sticks had a chisel shaped end and the other end pointed,would it be a different type of weapon?"

**
REPLY
7. "saun lee coetzee
The stick you describe sounds like a digging stick, used for gathering roots and bulbs. It could be used as a weapon, but not ideally so. At weddings and other social events it is tradition that stick fights take place, these use lighter sticks without knobs or points. The walk around stick that you would carry herding or about your daily business are generally have a knob, but are not pointed. Serious fighting sticks often are pointed on the non-striking end, applies both to the striking and shield stick. Striking stick length: ground to hip ball joint; Shield stick: ground to elbow joint. These lengths are subject to wide variability depending on region, clan and personal preference. This is a good introduction: https://www.youtube.com/watch?v=i7gkbqcMmgc&t=196s"
-snip-
This is the link for WE STILL ARE WARRIORS - ( FULL DOCUMENTARY ) by siyabonga makhathini, Published on May 4, 2014
Selected comments from that video's discussion thread are given as Video Discussion Thread #3.

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Video Discussion Thread #3
https://www.youtube.com/watch?v=i7gkbqcMmgc&t=196s
WE STILL ARE WARRIORS - ( FULL DOCUMENTARY ) by siyabonga makhathini, Published on May 4, 2014 [Note that the length of this video is 1:15:41 minutes]
1. Zwelikhona Madlala, 2015
"Yho! I once saw this doccie on SABC1 and i had goosebumps all over. Incredible piece of art. Was very disappointed ngesikhathi ibuya ilambatha kuma SAFTA, wanted my main man uBanda to win. MARVELOUS!!!"

**
REPLY
2. siyabonga makhathini, 2015
"It actually did win SAFTA for best documentary 2007, watch clip at end of documentary.Thanks for encouraging words"
-snip-
SABC1 is a South African television channel
"SAGTA" = South African Film and Television Awards

**
REPLY
3. Mhlengi Ntswane, 2018
"siyabonga makhathini What i love about this documentary is that it shows that KwaZulu Accepts everyone who's born there...like me for example my father is Mpondo and my Mother is Zulu and i was born in KwaZulu but the level of love i recieved while i was growing up was beyond beautiful...how can you not love this place?💎😍"

**
4. semounaful, 2016
"Mandela tells a little about this stick fight in his autobiography"long walk to freedom". As a young boy they used to play this game"

**
5.
Hugh Davison, 2017
"Great doccie! - this would make an awesome series on discovery channel or some such"

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