What Are The Lyrics For The Jamaican Maroon Songs "Granny Nanny Train ah Come (Walk in Deh)" And "Granny Nanny Come On"?

SaintAnthonyOne, Sep 16, 2016

"Granny Nanny Train ah Come, Walk in Deh". Step in and jump to the pulsating indigenous Maroons' Drumbeats. The Moore Town Maroons Granny Nanny Cultural Group."
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This Maroon performance group sing this song while they do their traditional dance around a circle. Two drummers are seated inside the circle. Some audience members dance along with The Moore Town Maroons Granny Nanny Cultural Group.

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Edited by Azizi Powell
 
This pancocojams post showcases a 2016 YouTube video of Jamaica's Moore Town Maroons Granny Nanny Cultural Group performing the song "Granny Nanny Train Ah Come (Walk In Deh)" (also found as "Maroon Train Ah Come (Walk In Deh)."

This post also showcases a sound file of another Jamaican Maroon song "Granny Nanny Come Oh" and provides some information about Queen Nanny who is also known as "Granny Nanny". 

I've searched online, but haven't found any words for these Jamaican Maroon call & response songs.

Please add to the folkloric record by sharing these songs' lyrics and by sharing any information you may have about when these songs were first sung and whether they are  religious songs or social resistence/protest songs or both. Also, are the composer/s of these songs known?   

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

All copyrights remain with their owners.

Thanks to the Maroon cultural groups for helping to keep alive the music legacy of the Jamaican Maroons.Thanks also to all those who are quoted in this post and thanks to the publisher of this video on YouTube.
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Click https://www.youtube.com/watch?v=PNW9v7THD5M&ab_channel=Rochielin for a YouTube video entitled "WHO ARE THE MAROONS IN JAMAICA? JOURNEY TO ACCOMPONG TOWN JAMAICA | Part 1" and click https://www.youtube.com/watch?v=VvUjQF23cM0&ab_channel=Rochielin for a YouTube video entitled "THE MAROONS JAMAICA | MOORETOWN | NANNY FALLS"

Also, click the tags given below for more information about Jamaica's Maroons and about Jamaica's Queen Nanny (Granny Nanny).

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YOUTUBE SOUND FILE

The Granny Nanny Cultural Group- Topic, January 6, 2017

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INFORMATION ABOUT THE MAROON QUEEN NANNY (GRANNY NANNY)
From https://en.wikipedia.org/wiki/Nanny_of_the_Maroons
"Queen Nanny, Granny Nanny or Nanny or Nanny of the Maroons (c. 1686 – c. 1755), was an 18th-century leader of the Jamaican Maroons. She led a community of formerly enslaved Africans called the Windward Maroons.[1] In the early 18th century, under the leadership of Nanny, the Windward Maroons fought a guerrilla war over many years against British authorities in the Colony of Jamaica in what became known as the First Maroon War.

Much of what is known about her comes from oral history, as little textual evidence exists. According to Maroon legend, Queen Nanny was born in what is today Ghana of the Akans people.[2] According to the oral tradition and at least one documentary source, she was never enslaved.[2] ...

During the years of warfare, the British suffered significant losses in their encounters with the Windward Maroons of eastern Jamaica. Maroons attributed their success against the British to the successful use of supernatural powers by Nanny, but historians argue that the Maroon mastery of guerrilla warfare played a significant role in their success. Having failed to defeat them on the battle field, the British sued for peace, signing a treaty with them on 20 April 1740.[2] The treaty stopped the hostilities, provided for state sanctioned freedom for the Maroons, and granted 500 acres of land to Nanny and her followers. The village built on the land grant still stands and today is called Moore Town. It is also known as the New Nanny Town. Modern members of the Moore Town celebrate 20 April 1740 as a holiday.

In 1975, the government of Jamaica declared Nanny as their only female national hero celebrating her success as a leader, military tactician and strategist.[3] Her image is also on the Jamaican $500 note which is called a Nanny in Jamaican slang.

[...]

According to Maroon oral history, Nanny's success in defending her people against overwhelming British forces was often attributed to her mysterious supernatural powers. According to legend, Nanny had magical powers, and could catch bullets and then redirect them back at the people who shot at her.[1]

[...]

Some claim that Queen Nanny lived to be an old woman, dying of natural causes in the 1760s. The exact date of her death remains a mystery. Part of the confusion is that "Nanny" is an honorific title*, and many high-ranking women were called that in Maroon Town. However, the Maroons are adamant that there was only one "Queen Nanny."[24]

 [...]

According to Maroon oral history, Nanny's remains are buried at "Bump Grave" in Moore Town.[25]

 Accolades

Nanny is celebrated in Jamaica and abroad:

The government of Jamaica declared Queen Nanny a National Hero in 1975. Colonel C.L.G. Harris of Moore Town, then a Senator in Jamaica's upper house, was the driving force behind the move to recognise Nanny as a National Heroine.[25]

Her portrait is featured on the $500 Jamaican dollar bill, which is colloquially referred to as a "Nanny".[26]

Nanny is celebrated every October on Jamaican National Heroes Day.[27]

Nanny's Monument is located in Moore Town, Portland, Jamaica.[28]

Nannyville Gardens, a residential community located in Kingston, Jamaica, was founded in 1977 and named after her.

The Gilder Lehrman Center for the Study of Slavery, Resistance and Abolition at Yale University in the United States uses Nanny's portrait in its logo. The Center sponsors research and conferences on slavery in the Americas."
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*The word "Nanny" originated from the Akan word "Nana".
From  http://www.odwirafo.com/nanasom.html
[in] "the Twi language of the Akan people of Ghana and Ivory Coast, Nana is a gender-neutral title representing the highest office in society. It is also a term used to denote Grandmother, Grandfather, Elderess, Elder, venerable Ancestress and venerable Ancestor."

Click http://pancocojams.blogspot.com/2014/09/what-nana-means-in-akan-culture-its-use.html#:~:text=%5Bin%5D%20%22the%20Twi%20language,venerable%20Ancestress%20and%20venerable%20Ancestor.%22 for a 2014 pancocojams post entitled "What "Nana" Means In Akan Culture & The Use Of The Word In Jamaican Maroons & By African Americans".

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Temne And Ibo (Igbo) Nation Dances & Songs From The Carriacou Big Drum songs and dances

Edited by Azizi Powell

This is Part II of two part series on Carriacou Big Drum songs and dances. This post showcases videos of Big Drum songs and dances that are performed by the descendants of Temne Nation and Ibo Naton [Igbo] (ethnic groups) who were enslaved in Carriacou.

Part I of this series showcases the Cromanti Cudjoe (Beg Pardon) song and dance. This post also provides information about Carriacou and the Carriacou Big Drum tradition.

The content of this post is presented for folkloric and aesthetic purposes.

All copyrights remain with their owners.

Thanks to all the ancestors who are honored by these ritual drum calls and dances. Thanks also to all those featured in these videos, thanks to Cultural Equity, the publisher/s of those videos on YouTube, and thanks to all those who are quoted in this post.

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INFORMATION ABOUT CARRIACOU AND THE BIG DRUM DANCES
From http://en.wikipedia.org/wiki/Carriacou
"Carriacou is an island of the Grenadine Islands located in the Southeastern Caribbean Sea, Northeast of Grenada...

It's the largest in the Grenadines and in the Grenada Grenadines. It is the 3rd largest island in the Grenadine Islands (Vincentian and Grenadian Grenadines)...

It's part of the Carriacou and Petite Martinique Constituency and also Carriacou is a dependency of Grenada...

The inhabitants of Carriacou perform the "Big Drum" or "Nation" dance which celebrates their West African ancestors that were brought to the island during slavery. These Big Drum dances are usually performed at "Maroons" village festivals or fetes, where food and drink are prepared. They can also be danced at wakes and tombstone feasts in honor of dead relatives. The Quadrille dance is also performed on the island of Carriacou during festivals and historic events."...
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From http://www.lameca.org/dossiers/bigdrum/musiq_eng.html
"The Big Drum or Nation Dance (also at one time called called Gwa Tambu) is a traditional religious and social ritual that has been sustained on Carriacou, Grenada since the slave era and the early importation of Cromanti people. It teaches history and reinforces knowledge, family lineage, and tradition in our time.

The Big Drum ritual survives as a community event hosted by any family that wishes to celebrate or toast good luck in the dedication of a new house, the launching of a new boat, a wedding, a memorial or any event that improves the social status of the host family. With food, rum, ritual behavior, the Big Drum performance holds religious and social meaning in the songs, drumming, and dances.

The Chantwell and her troop of about 12 singers, surrounded by the crowd of guests who form a circle around them, dance and sing the repertoire with the drum trio accompanying them....

Nine West African groups, speaking various languages, were brought into slavery on Carriacou. The Cromanti nation, made up of mixed Akan groups (Fanti, Asanti, Akwapim) was named after the Dutch-built Gold Coast slave castle Kormantin and exited Africa from that site (Meredith 1812:130). We suggest, given structural cues from the songs, that The Cromanti were, most likely, the nation that established the Big Drum, as the largest and most influential of those enslaved on Carriacou (McDaniel 1998: 42). And as other people were traded and sold, the Igbo, Manding, Chamba, Temne, Banda, Arada, Moko, and Kongo repertoires were appended to the ritual, with their peoples forming a nine nation congress of multinational representation (Pearse 1978-79:638).

The nine nations of Carriacou remained somewhat in tact exhibiting a historical, political/cultural sensibility in their society. The oldest, most treasured, and spiritual Nation items of the Cromanti, Igbo, and Manding are set at the beginning of the event with the other 6 Nation dances performed later intermixed with secular dances...

[Nations listed:
Nation
Cromanti
Igbo
Manding
Arada
Congo
Chamba
Banda
Temne
Moko]

...We find ancestral petition prominent in the oldest texts, social concerns in the Creole songs, and a call to enjoyment and dance in the Frivolous poetry. Anancy is not a mysterious name, but one of a well known and provocative deity, a spider with uncommon stealth and trickery. Anancy is known in many West African cultures, and here it belongs to the first nation, the Cromanti, with word phrases that may be Hausa....

[Transcription of "Anancy-O" (Cromanti) song]

...An Igbo song follows [a song about a Yoruba god Oko*]. “Ovid-o Bagade,” a social metaphor, tells of the fear faced by a paranoid farmer, Ovid, who plants and yields unexpected evil. “Bagarde, Don’t be afraid,” sings the chorus.

Ovid-o Bagadé [Igbo]
Mwen planté shu mwen
Li turné ba legé
Ovid-o bagardé, bagardé éh-hé
Mwen planté shu mwen
Li turné maljo-jo (melangen, balissé)
Ovid-o bagardé, bagardé éh-hé

[Translation]
I plant tanya
And it turns to nothing
Ovid, don’t be afraid, don’t be afraid.
I plant tanya
And it turns to fear (eggplant, bush)
Ovid don’t be afraid, don’t be afraid."...
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*This writer indicates that "Oko is a Yoruba god, a member of the Nigerian Orisha pantheon, guardian of crops and fertility. But Yorubas did not enter Carriacou as a group...Virtually forgotten within the Nigerian Orisa ritual of Trinidad, the memory of Oko wandered. The enslaved population of Trinidad thought it absurd to entreat the god of agriculture and fecundity to work in the favor of the colonialists, increasing their holdings and wealth (Simpson 1962:1217). However, the Yoruba deity, Oko, was appropriated by those who traveled away from the drought-ridden landscape of Carriacou and worked in the cane fields of Trinidad soon after the end of slavery in 1838 (Hill 1973:23)."...

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FEATURED VIDEOS
Example #1: Tiwe Tiwe-o (Cheer Up Pike)



Cultural Equity Published on Jul 29, 2013

Sung at this stage so that people who don't know how to dance the nation of the host family (in this case, the Kromanti) get to dance.

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Example #2: Tewe-M Kouman M Ye (Temne nation dance)



Cultural Equity Published on Jul 29, 2013

Boula, Lennox Corian; koupeé, James "Laka" Moses; David Gibbs, foule; Denise Duncan, chak-chak. Dancing: Denise Duncan, Suzanne Duncan, Angela Theresa Billy Matheson, Princess Noel
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Here's information about the Temne ethnic group:
From http://en.wikipedia.org/wiki/Temne_people
"The Temne people are currently the largest ethnic group in Sierra Leone, at 35% of the total population[1] The Temne are predominantly found in the Northern Province and the Western Area, including the national capital Freetown...

There were Temne speakers along the coast in what is now Sierra Leone when the first Portuguese ships arrived, in the 14th century. Temne were indicated on subsequent Portuguese maps, and references to them and brief vocabularies appear in the texts. Trade began, albeit on a small scale, in the fifteenth century with the Portuguese and expanded in the late sixteenth century with the arrival of British traders, and later traders of other nations. Slaves, gold, ivory and local foodstuffs were exchanged for European trade goods—mostly cloth, firearms, and hardware...

Sierra Leone's national politics centers on the competition between the north, dominated by the Temne and their neighbour and political ally, the Limba; and the southeast, dominated by the Mende, who are a Mande people like the Mandinka, Bamana, and Malenke (of Guinea, Senegal, Mali, etc.). The current president of Sierra Leone, Ernest Bai Koroma, is the first Sierra Leonean president from the Temne ethnic group; he receives most of his support from Temne-dominant areas in the north and western regions of Sierra Leone."...

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Example #3: Temne-o (Nation song)



Cultural Equity, Published on Jul 29, 2013

In this dance, participants dance one by one. When someone new wants to dance, she raises her hands in the air, and the dancer in the ring will receive her and wheel her out.

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Example #4: Ibole Ibole Woy Yo (Ibo Nation Song)



Cultural Equity, Published on Jul 29, 2013
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Here's some information about the Ibo (igbo) people:
From http://en.wikipedia.org/wiki/Igbo_people
"The Igbo people, formerly known as the Ibo, are an ethnic group of southeastern Nigeria. They speak Igbo, which includes various Igboid languages and dialects. Igbo people are one of the largest ethnic groups in Africa...

Before British colonialism, the Igbo were a politically fragmented group. There were variations in culture such as in art styles, attire and religious practices. Various subgroups were organized by clan, lineage, village affiliation, and dialect. There were not many centralized chiefdoms, hereditary aristocracy, or kingship customs except in kingdoms such as those of the Nri, Arochukwu, Agbor and Onitsha...

Due to the effects of migration and the Atlantic slave trade, there are descendant ethnic Igbo populations in countries such as Cameroon[11] and Equatorial Guinea,[12] as well as outside Africa. Their exact population outside Africa is unknown, but today many African Americans and Afro Caribbeans are of Igbo descent. According to Liberian historians, the fifth president of that country, Edward James Roye, was of "pure" Igbo descent."...

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Cromanti Cudjoe (Beg Pardon) - Carriacou Big Drum Song & Dance

Edited by Azizi Powell

This is Part I of two part series on Carriacou Big Drum songs and dances. This post showcases the Cromanti Cudjoe (Beg Pardon) song and dance. This post also provides information about Carriacou and its Big Drum tradition with particular emphasis on the Cromanti Cudjoe drum song and dance tradition.

Click http://pancocojams.blogspot.com/2014/09/temne-and-ibo-igbo-nation-dances-songs.html for Part II of this series. Part II showcases videos of the Temne and Ibo (Igbo) nations (ethnic groups) Big Drum Song & Dances. That post will be published ASAP.

The content of this post is presented for folkloric and aesthetic purposes.

All copyrights remain with their owners.

Thanks to all the ancestors who are honored by these ritual drum calls and dances. Thanks also to all those featured in these videos, thanks to the publishers of those videos on YouTube and thanks to all those who are quoted in this post.

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INFORMATION ABOUT CARRIACOU AND THE BIG DRUM DANCES
From http://en.wikipedia.org/wiki/Carriacou
"Carriacou is an island of the Grenadine Islands located in the Southeastern Caribbean Sea, Northeast of Grenada...

It's the largest in the Grenadines and in the Grenada Grenadines. It is the 3rd largest island in the Grenadine Islands (Vincentian and Grenadian Grenadines)...

It's part of the Carriacou and Petite Martinique Constituency and also Carriacou is a dependency of Grenada...

The inhabitants of Carriacou perform the "Big Drum" or "Nation" dance which celebrates their West African ancestors that were brought to the island during slavery. These Big Drum dances are usually performed at "Maroons" village festivals or fetes, where food and drink are prepared. They can also be danced at wakes and tombstone feasts in honor of dead relatives. The Quadrille dance is also performed on the island of Carriacou during festivals and historic events."...

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From http://www.lameca.org/dossiers/bigdrum/musiq_eng.html
"The Big Drum or Nation Dance (also at one time called called Gwa Tambu) is a traditional religious and social ritual that has been sustained on Carriacou, Grenada since the slave era and the early importation of Cromanti people. It teaches history and reinforces knowledge, family lineage, and tradition in our time.

The Big Drum ritual survives as a community event hosted by any family that wishes to celebrate or toast good luck in the dedication of a new house, the launching of a new boat, a wedding, a memorial or any event that improves the social status of the host family. With food, rum, ritual behavior, the Big Drum performance holds religious and social meaning in the songs, drumming, and dances."
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A longer excerpt of that article is included in Part II. Included in that excerpt is a list of the nine African nations (ethnic groups) that are part of Carricacou's Big Drum rituals.

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THE EYTMOLOGY OF THE NAME "CROMANTI CUDJOE"
From http://en.wikipedia.org/wiki/Coromantee
"Coromantee (derived from the name of the Ghanaian coastal town "Kormantse"), also called Coromantins, Coromanti or Kormantine was the English name given to Akan slaves from the Gold Coast or modern-day Ghana. The term Coromantee is now considered archaic as it simply refers to Akan people, and was primarily used in the Caribbean. Coromantins actually came from several Akan ethnic groups – Ashanti, Fanti, Akyem, etc. – presumably taken as war captives.

Owing to their militaristic background and common Akan language, Coromantins organized dozens of slave rebellions in Jamaica and elsewhere in the Caribbean. Their fierce, rebellious nature became so notorious among white plantation owners in the 18th century that an Act was proposed to ban the importation of people from the Gold Coast despite their reputation as strong workers. The Akans had the single largest African cultural influence on Jamaica, including Jamaican Maroons whose culture and language was seen as a derivation of Akan. Names of some notable Coromantee leaders such as Cudjoe, Quamin, Cuffy, and Quamina correspond to Akan day names Kojo, Kwame, Kofi, and Kwamina, respectively."...
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This excerpt was reformatted for this post for increased reading clarity.

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From http://en.wikipedia.org/wiki/Cudjoe
"Cudjoe, or Captain Cudjoe (c. 1680 – 1744),[1] sometimes spelled Cudjo - corresponding to the Akan day name Kojo or Kwadwo - was a Maroon leader in Jamaica, and the brother of Nanny of the Maroons. He has been described as "the greatest of the Maroon leaders."

The Jamaican Maroons are descended from runaway slaves who established free communities in the mountains of Jamaica during the long era of slavery in the island. African slaves imported during the Spanish period may have provided the first runaways, apparently mixing with the Native American Taino or Arawak[citation needed] people that remained in the country. Some may have gained liberty when the English attacked Jamaica and took it in 1655, and subsequently. For about 52 years, until the 1737 peace treaty with the British rulers of the island - which is still in force - the Maroons stubbornly resisted conquest.

Cudjoe is believed (according to Maroon oral tradition) to have been the son of Naquan, a chief of the Akan people or Coromantee people from what is modern-day Ghana.[citation needed] Naquan was taken captive and sold into slavery in Spanish Jamaica in the 1640s but he initiated a revolt and led his tribesmen into the mountainous interior of the island, establishing the first community of Maroons,[3] as the runaway slaves were called, after the Spanish word cimarron, meaning "wild".

The two main Maroon groups in the 18th century were the Leeward and the Windward tribes, the former led by Cudjoe in Trelawny Town and the latter led by his sister Queen Nanny (and later by Quao).[citation needed] Captain Cudjoe had endless energy and was greatly motivated to stay a free man. He was strong, courageous and relentless. Cudjoe was also a very skilful, tactical field commander and a remarkable leader"...

Cudjoe Day is celebrated in Jamaica on the first Monday in January...

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From http://www.afropedea.org/kromanti
"Kromanti is one of three languages of Jamaica. It is related to the Akan language group, especially Fante, Asante, and broader Twi family. The lexicon is based on archaic English forms. Kromanti is similiar to the creole languages of Suriname. It is spoken by the Eastern Maroons of Moore Town, in Eastern Jamaica. Maroons were run-away slaves who formed independent communities, after the 17th century. The Maroons kept the language thriving until it began to diminish in the early 20th century, spoken only by the elderly population...

The language is under threat of vanishing because of the secretive nature of Maroon society. The young is slowly losing knowledge of the tongue. The language is mainly used in special ceremonies called Kromanti Play, which invokes the ancestor spirits and addresses the ancestors.

Many Kromanti leaders had names originating from Akan culture Cudjoe, Qauo, Cuffee , Quashie, and Queen Nanny-- Cudjoe refer to Kojo meaning a son born on Monday; Qauo refers to Kwau meaning a son born on Thursday, Cuffee refers to Kofi, a son born on Friday. Queen Nanny comes from the title nana given to chiefs."

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FEATURED VIDEOS
Example #1: Anansi-O Sari Baba (Kromanti beg-pardon song)



Cultural Equity Published on Jul 24, 2013

Winston Fleary: "This is an Akan song for transubstantiation and communion, the forgiveness of sins and the resurrection. Anancy is the God of wisdom, knowledge and understanding, king of gods, the Creator. He feeds you with the food of the Gods. The throwing of rice is to beg for the continuous regeneration of children in the family. The other old lady throws sweet water to beg for harmonious living among the family. The rum is thrown 'spirit to spirit.' Water salutes life created from water." In Hausa "Tsari Baba" means the father's pardon, the ultimate protection. (From L. McDaniel, The Big Drum Ritual of Carriacou, University of Florida Press, 1998.)

Boula, James "Laka" Moses; kòt drum, Winston Fleary; foule, David Gibbs
Chantwèl: Winston Fleary

Dancing in a line that becomes a circle (=unity):

Anthony "Sugar Patch" Douglas pours water in the ring

Mrs. Duncan Lang (Lucian's cousin) pours rum in the ring

Suzanne Duncan throws rice in the ring

Another of Lucian's granddaughters in pink pants throws corn

Bontin Scott sprinkles water

Denise Scott follows

When this is done, the dances turn each other, two by two
Anansi o, e
Anansi o sari baba
Anansi o, e
Anansi o sari baba

This would continue:
Fennwa kontre, Nenen
Si mwennn merit, Nenen
Pardonnen mwennn
Si mwennn merit
Tine tine mwennn

If I have done anything wrong, Godmother
We beg your pardon
If I deserve it, Godmother
Pardon me
I'm sorry, sorry

Director/camera: John Melville Bishop; Sound/camera: John Horace Terry; Line producer: Naomi Hawes Bishop; Cultural liaisons: Geoffrey Clarfield, Mireille Charles; Producer: Anna Lomax Wood; Executive Producer, Kimberly Green; Transcriptions: Ronald Kephart; Comments and translations: Winston Fleary.

Friends from Carriacou! Please add to the experience by sharing your knowledge and leaving a comment. Corrections? Send us an e-mail through the channel.
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Extraplating from these notes about this Big Drum song, the term "Anansi-O Sari Baba" comes from two different West African cultures: "Anansi" from the Akan [Ghana/Ivory Coast] and "O Sari Baba" from the Hausa [Nigeria].

"Anansi" is best known in the Caribbean as a wily, triskster spider/man. According to http://en.wikipedia.org/wiki/Anansi
"Anansi (/əˈnɑːnsi/ ə-NAHN-see) [is] the trickster is a West African god. He often takes the shape of a spider and is considered to be the god of all knowledge of stories. He is also one of the most important characters of West African and Caribbean folklore.

He is also known as Ananse, Kwaku Ananse, and Anancy; and in the southern United States he has evolved into Aunt Nancy. He is a spider, but often acts and appears as a man.

The Anansi tales are believed to have originated in the Ashanti people in Ghana. (The word Anansi is Akan and means, simply, spider.) They later spread to other Akan groups and then to the West Indies, Suriname, and the Netherlands Antilles. On Curaçao, Aruba, and Bonaire he is known as Nanzi, and his wife as Shi Maria."
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A "chantwell" is the leader of group chanting because he or she "chants well" (very good).

In American English "I beg your pardon" is usually only used when asking someone to excuse them for some small offense such as accidentally stepping on that person's toes. However, I think that in the context of this Big Drum song "beg pardon" means asking for forgiveness for bigger things. In that sense, "beg pardon" is like Christians asking God for forgiveness and mercy.

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Example #2: Kromanti Cudjoe (Invocation to awaken the Ancestors)

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Cultural Equity Published on Jul 29, 2013

A salute to Kromanti Cudjoe, the Maroon drummer who is considered the great ancestral drummer, and father of the Big Drum Nation Dance celebrations that brought all the nations together.

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