Shirley Ellis' "The Clapping Song" Featured In A 2015 French Phone Commercial That Shows Four Women Stepping & Pattin Juba

LeeAnet Noble, Nov 10, 2015

New commercial for French mobile phone company Sosh for which  LeeAnet Noble (Rick Owens ss14 Paris fashion week) choreographed, assisted in casting and direction

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Edited by Azizi Powell

This pancocojams post showcases a 2015 commercial for a French mobile phone company and includes a description of that commercial whose background music is a clip of the hit 1965 R&B song "The Clapping Song" by Shirley Ellis.

A You Tube sound file of Shirley Ellis' The Clapping Game is included in this post along with information about Shirley Ellis. Information about Lincoln Chase, the writer of "The Clapping Song", and several other hit R&B songs from the 1960s is also included in this post.

In addition, this pancocojams post also provides information about LeeAnet Noble, the choreographer for that 2015 French phone commercial.

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

All copyrights remain with their owners.

Thanks to the four women who are featured in this commercial. Thanks also to choreographer, director LeeAnet Noble, and all those who were associated with this commercial. Thanks to singer Shirley Ellis and song writer Lincoln Chase for their musical legacies. Thanks toall those who are quoted in this post. Thanks also to the publishers of that commercial and that R&B sound file on YouTube.

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MY DESCRIPTION OF THE 2015 SOSH TELEPHONE COMMERCIAL
The 2015 commercial for the French mobile phone company features two young Black women and two young Asian women moving to the beat of Shirley Ellis' hit 1965 R&B record "The Clapping Song". The commercial begins with the young women in front of a blank white screen wearing different variations of  black & white shirts and white tennis shoes without socks or stockings. In other scenes in this commercial,  the women wear other color clothing and move in front of a blank screen which compiments that color.

For most of the .56 minute commercial, the women perform "steppin/g" - a movement art that originated with historically Black Greek letter fraternities and sororities and is still mostly associated with those organizations. Some of the stepping routines include "pattin Juba" (doing the hambone). "Pattin Juba" originated with enslaved African Americans and involves rhythmically slapping (patting) one's hands, chest, feet, knees, and legs. In that 2015 French phone commercial, those pattin Juba motions are also shown seperat from stepping. In addition to stepping and patting Juba, the women in that 2015 commercial are also shown performing partner hand claps, performing some movements lifted from tap dancing, some dance movements, and posing for the camera. 

The unseen narrator in this commercial speaks French, encouraging people to purchase Sosh mobile phones.

Click these links for some closely related pancocojams posts:

http://pancocojams.blogspot.com/2011/10/pattin-juba-hambone-and-bo-diddley-beat.html "Pattin Juba, Hambone, And The Bo Diddley Beat"

http://pancocojams.blogspot.com/2021/03/body-patting-styles-in-stepping.html "Body Patting Styles In Stepping Routines Of Historically Black Greek Letter Sororites"

https://pancocojams.blogspot.com/2021/03/body-patting-in-historically-black.html "Body Patting In Historically Black Greek Letter Fraternities Stepping Routines".

Also, click the tags that are given below.

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SHOWCASE YOUTUBE SOUND FILE 
  
 

Cruisin' FM - with Good Times & Great Oldies, Jan 24, 2021

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INFORMATION ABOUT SHIRLEY ELLIS' & HER HIT RECORD "THE CLAPPING GAME"
Excerpt #1
From https://en.wikipedia.org/wiki/Shirley_Ellis
"Shirley Marie O'Garra[1] (stage name Shirley Ellis, married name Shirley Elliston;[2] January 19, 1929 – October 5, 2005[3]) was an American soul music singer and songwriter of West Indian heritage.[4][5] She is best known for her novelty hits "The Nitty Gritty" (1963, US no. 8), "The Name Game" (1964, US no. 3) and "The Clapping Song" (1965, US no. 8 and UK no. 6). "The Clapping Song" sold over one million copies and was awarded a gold disc.[6]

Career

By 1954, Ellis had written two songs recorded by the Chords.[5] She was originally in the group the Metronomes and married the lead singer, Alphonso Elliston. All her solo hits were written by her and her manager, record producer, and songwriting partner Lincoln Chase.[7]

Ellis had recording contracts with the Kapp Records subsidiary Congress and later Columbia and Bell, but retired from the music industry in 1968.

In August 2020, "The Clapping Song" was featured in a TV commercial for the Samsung Galaxy Tab 7, and in April 2021 her "I See It, I Like It, I Want It" was in another Samsung commercial, this time for the Galaxy Z Flip 5G and Galaxy Z Fold2.

Personal life

Shirley O'Garra was born to William H. and Petra (Smith) O'Garra. Her father was a native of Montserrat, and her mother was born in the Bahamas.[4]”…
-snip-
Shirley Ellis was African American.

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Excerpt #2
From https://en.wikipedia.org/wiki/The_Clapping_Song
" "The Clapping Song" is an American song, written by Lincoln Chase, originally arranged by Charles Callello and recorded by Shirley Ellis in 1965.... The song was released shortly after Ellis had released "The Name Game". "The Clapping Song" incorporates lyrics from the song "Little Rubber Dolly" (which does not contain the ‘3 6 9’ part)[1] a 1930s song recorded by the Light Crust Doughboys, and also features instructions for a clapping game. The single sold over a million copies, and peaked at number eight in the United States[2] and number six in the UK.[3]"
-snip-
Click http://pancocojams.blogspot.com/2019/02/some-early-examples-of-childrens-rhyme.html for a 2019 pancocojams post entitled "Some Early Examples Of The Children's Rhyme "Once Upon A Time The Goose Drank Wine"

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INFORMATION ABOUT LINCOLN CHASE
From https://en.wikipedia.org/wiki/Lincoln_Chase
"Lincoln R. Chase (June 29, 1926 – October 6, 1980) was an American songwriter and occasional recording artist. As a writer, his most notable songs were "Such a Night", "Jim Dandy", and several of Shirley Ellis' hits in the early 1960s including "The Name Game" and "The Clapping Song".

Chase was born in New York City, the only child of West Indian immigrants. Lorenzo, his father, was born in Cuba and his mother, Edith (or Elizabeth), was a native of the British West Indies. He was raised in New York City. "...
-snip-
Lincoln R. Chase was African American.

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INFORMATION ABOUT LEEANET NOBLE
From https://www.amazon.com/LeeAnet-Noble/e/B078MT5HPD%3Fref=dbs_a_mng_rwt_scns_share
"LeeAnet Noble is an internationally critically acclaimed choreographer, director, performer and writer. She started out at the age of two singing and dancing under her Grandmother Loncie Norwood Malloy (National Symphony Orchestra) and would follow her mother Lauretta Malloy Noble to her performances with such artists as Queen Latifah. In her 20+ years in the industry, she has learned the tools necessary to navigate this world. From working as a publicist with A-list artists to working with Disney Theatricals, Rihanna, Alicia Keys, casting and choreographing major commercials and fashion shows for Paris Fashion Week and New York Fashion Week, directing and creating live productions and more she has developed an eclectic and sought after approach. She has been featured in millions of magazines and in museums across the world for her mold-breaking work alongside her partner and mother Lauretta Malloy Noble."...
-snip-

This biography is reformatted to increase its readability.
-snip-
LeeAnet Noble is an African American woman. 

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Visitor comments are welcome.

A 2018 United States Army Drill Routine That Includes Steppin' (video & comments)

TNT Vlogs, July 1, 2018
-snip-
Statistics as of Nov. 20, 2020 at 10:34 M ET
total # of views -1, 479,250
total # of likes-16K

total # of dislikes-2.5K
total # of comments -2,671 

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Edited by Azizi Powell

This pancocojams post showcases a YouTube video of an army cadence routine that includes a brief portion of hand clapping, body patting, and foot stomping movements that are the same as or are very similar to historically Black Greek letter organization (BGLO) steppin.   

This post also includes comments that are critical or are supportive of this routine.

The content of this post is presented for socio-cultural purposes.

All copyrights remain with their owners.

Thanks to all those who are featured in this video and all those who are quoted in this post. Thanks also to the publisher of this video on YouTube.

Thanks all those who honorably serve in the United States armed services. 

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SELECTED COMMENTS FROM THIS VIDEO'S DISCUSSION THREAD
Brief definitions and/or explanatory comments about terms that are found in some of these comments may be given after those comments.

Because pancocojams is a family friendly blog, words that are considered profanity is given with amended spelling that is indicated with an asterisk.   

Numbers are added for referencing purposes only.

https://www.youtube.com/watch?v=TqwDfjdd6SU&ab_channel=TNTVlogs

2018

1. ScorpioSOB
"It's AIT.....Nothing disgraceful about it.

The purpose of drill is to enable a commander or non-commissioned officer to move his unit from one place to another in an orderly manner; to aid in disciplinary training by instilling habits of precision and response to the leader’s orders;and to provide for the development of all soldiers in the practice of commanding troops."
-snip-
Read another quote about AIT after comment #16 below. 

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2. armybeef68
"O-Days are the equivalent of a company picnic, there is no formations or range days, we're required to be there, that's why we called it mandatory fun days."

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3. William 
"I spent 20 years in the Army and practically every bit of that time was spent in combat arms.  I honestly don't see what everyone is complaining about. These Soldiers are having fun, believe me when I tell you, there will be plenty of times when these Soldiers will be absolutely miserable, there will plenty of PT, plenty of all day ranges, guard duty, NTC or JRTC, command layouts and those f-ing change of command ceremonies that alway happen when it is 200 degrees outside.  As I see it this is meant to build morale, teamwork and yes have fun...we will do that on occasion. Believe me no one is making YouTube videos about burning crap in a 55 gallon oil drum on the top of some mountain in Afghanistan. Also every unit has an Organizational Day(O-Day) where we play games all day long and do activities just like this. For those of you who served can you really say that spent your entire time in the military and didn't have some sort of fun in your unit? Are you honestly going to say you didn't play on a flag football team or softball,  you did nothing but train the entire time?"
-snip-
This is the way this comment is written in that discussion thread.

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REPLY
4. Dillon Ciokiewicz
"Thank you! This was my company in AIT and before that PSG, then later DS showed up, our company morale was a dumpster fire. I had the privilege to call her my PSG before the DSs came rolling in. She almost single handedly turned that company around from a SSG position."

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REPLY
5. Brock Webb
"William Chandler no I have never done activities like this during an organization day, absolute disgrace doing this in uniform."

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REPLY
6. William
"Brock Webb I respect your opinion, until a year ago I wore the uniform for 22 years, I spent 18 of those 22 in either armored or infantry, I did four deployments and I don’t see anything disgraceful about this at all.  I seriously doubt anyone would have found the spur ride disgraceful, where soldiers wore pink Kevlars and leaders smashed eggs on the head of the chaplain or where another soldier was told to carry around playgirl magazines in his rucksack and present them to any spur holder who asked, no that was called tradition. This isn’t disgraceful it’s just not your style and that’s cool but again let these joes have their fun if you were in then you know they will have some shi—y* days it’s inevitable."
-snip-
*This word is fully spelled out in this comment.

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REPLY
7. Adam Clancy, 2019
"William Chandler As a Marine we would never do any of that crap you just mentioned. Unless we’re deployed for waaay too long. Haha. Maybe in a fraternity but for a fighting force to do it? Lol. As far as this video goes - glad they’re having fun but in no way is this the best Cadence caller. That just makes it more embarrassing for you guys when we are expecting something exceptional."

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REPLY
8. FSUA GAMING, 2019
"Nothing wrong with a moral booster. Just like when deployed, having fun and making videos of all branches are okay. But when its time to rock its time to roll. Nothing wrong with a little bit of fun here and there."

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REPLY
9. Sweden 88, 2019
"The time they learned how to do this D&C, they could’ve spent training. Does no one remember Iraq???? Non combat arms were absolutely destroyed when ambushed or forced to fight."

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REPLY
10. Kelly Bezz, 2019
"William Thanks for your service soldier!  Really appreciate it. God Bless you."

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2019

11. rap RD
"They were freestyling that looked so good as an art"

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12. Justin Pastirik
"What in the stomp the yard is going on here"
-snip-
-snip-
13. This was one of a number of comments in that discussion thread which refer to the American movie entitled Stomp The Yard. 

Here's information about that movie from https://en.wikipedia.org/wiki/Stomp_the_Yard
"Stomp the Yard is a 2007 American dance drama film produced by Rainforest Films and released through Sony Pictures' Screen Gems division on January 12, 2007. Directed by Sylvain White, Stomp the Yard centers on DJ Williams, a college student at a fictional historically Black university who pledges to join a fictional Greek-letter fraternity. The film's central conflict involves DJ's fraternity competing in various stepping competitions against a rival fraternity from the same school... The film was originally titled Steppin', but to avoid confusion over the 2006 film Step Up, the title was changed."...
-snip-
Two additional comments in this compilation that mention Stomp The Yard  are given at #21 and #22. 

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REPLY
14. Lavern Revels, 2020
"A big hot mess. Im old school Army."

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REPLY
15. Rage Beast, 2020
"It’s just freestyling"

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REPLY
16. Rage Beast, 2020
"Jerk Of All Trades it is but it’s just freestyle of regular marching... and it’s just ait where you learn your job and have fun"
-snip-
Here's information about AIT from https://www.militaryonesource.mil/military-life-cycle/new-to-the-military/getting-settled/life-after-basic-combat-training/#:~:text=Advanced%20individual%20training%20is%20where,expert%20in%20that%20career%20field.
"Following your Army basic combat training, you’ll take one of two paths, advanced individual training or Officer Candidate School to advance in your military career.

Advanced individual training

Advanced individual training is where you will learn the skills needed to perform a specific Army job, such as artillery or engineering. At your AIT school, you’ll receive hands-on training and field instruction to make you an expert in that career field. There are 17 career fields and the schools are designed to help you gain discipline and a work ethic that will benefit you for the rest of your career.

Where you train and for how long will depend on your job, called a Military Occupation Specialty or MOS"

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REPLY
17. Matthew Tratz, 2020
"@Rage Beast fun?! I don't remember AIT being fun. What universe are you from?"

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REPLY
18. Kevin Moore, 2020
"Sounds like your basic D&C competition between AIT companies. We had the same thing back in the day. The winner moved on to compete against the rest of the AIT battalion winners. Our Drills didn't take part in the actual competition, that was given to the highest ranking recruit that could remember the entire drill."
-snip-
At 4:27 in this embedded video the female drill sergeant salutes the male Sergeant Major and says "That concludes the informal portion of our drilling ceremony competition."

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REPLY
19. Taemien, 2020
"Signal Corps drill and ceremony competition. This isn't nearly as crazy as the one I saw in 2007."

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20. Jordan Clark
"that was my drill sergeant in AIT, she was awesome, tried to teach instead of yell. everyone in ALPHA 369 respected her. Great drill sergeant."

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2020

21. Des2BFit
"What is this stomp the yard Army lol sooo this what we doing now !!?? Lol"

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REPLY
22. bubbasdragon
"This stomp the yard comment got funnier and funnier as the video went on.  Lmfao"

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23. LittleWing714
"Don’t know if I like it either way / I get it some of you saying that every soldier at some point during his/her service had fun doing something but I loved D&C when I was in and I feel this takes away from it - turned it into a pep squad for high school football or something - just my opinion

US ARMY - Ft Knox, Ft. Sam, Huster Hue Kaserne-Pirmasens Germany, Ft Lewis 90-93"

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24. Whit Whitaker

"HOOAH.

MUCH RESPECT.."

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25. Natalie Lasky
"This looks fun and school yardish; however, looking at this as a Marine Corps veteran, they are very undisaplined with their movements. Even the drill sgt was very fluid with movements that would have got you to spend time in the pit in the Marines. Still was a good performance, even though it was very sloppy."

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26. Jess A
"Talk about proper weapons handling…🧐"

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27. Owen Whitman
"When the H*LL did they find time in the training schedule for this?  ...and what did they leave out to practice for it?"
-snip-
This comment was written this way in that discussion thread.

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28. James Purvin
"Cringe"

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29. AAAskeet
"Army or cheer squad? WT-* my money paying for?"
-snip-
*This abbreviation is fully given in that comment.

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30. Robert Clark
"Is the drill Sergeant a member of DST?  Outstanding job!!!!"
-snip-
“DST”= Delta Sigma Theta Sorority, Inc., a historically Black Greek letter sorority.

The "outstanding job" may be facetious. Note that historically Black Greek letter sororities and fraternities pride themselves in having their own distinctive styles of steppin. Also, unlike this routine, in the nine main historically Black Greek letter organizations, males and females don't step together. Furthermore,  I believe that the style of steppin that is performed in this routine is more like that is done by sororities. 

Read comment #41 and comment #74 that also mention historically Black Greek letter fraternities and sororities or their presentations.

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31. Nicole Watson
"Creative portion of drill and ceremony??? When did this happen?"

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32. labvampire
"I wish it was like this back in the 80's...she is fantastic"

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33. Lillacemy Cat 
"I can tell you the tosses were as hard as they looked with the rifle. Color guard does it/learns it but the rifles we have aren’t real but kinda look similar in some aspects. They vary in weights to so they are different. But doing that thumb flip must have been a challange because I’m still really learning it"

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34. 70’sStreetRacer Gal
"HOOAH!!!   GO ARMY!  ❤️🇺🇸❤️👍🏻❤️"

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35. Keith Wat
"Bullsh-t*! I would have smoked every last one of em.  This ain’t no step show or half time show."
-snip-
*This word is fully spelled out in this comment.

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36. ittybittymexican1117
"The best time in a young Soldiers career. Thank you to all of the Drill Instructor s past present and future"

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37. lesley james
"Well this video should be viral for absolutely everything...

Blacks and white all working together while talking vocals from a amazing black woman. 

What a better way to describe all humans working together xx"

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38. Daniel Farrell
"That A-company is a unit that not only will they stand strong in the face of the enemy but they will march into the deepest darkest pits of hell just to bring one of their own home. That platoon Sargent has made them a true band of brothers and sisters, willing to die for each other if called into battle tomorrow. You can see that in the way they respect their Sargent and each other."

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39. Gene Whitman
"Good job, soldiers!"

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40. brucejoshua21
"This isn’t cadence..."

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41. Dee Mccann
"They step like a black, African American sorority or fraternity. Kappa Alpha Psi for instance just saying"
-snip-
Kappa Alpha Psi, Inc. is a historically Black Greek letter fraternity. Comparing this style of steppin with Kappa Alpha Psi may be a indirect putdown. The Kappas have informally been known as a fraternity for "pretty boys", a sometimes complimentary and sometimes not so complimentary descriptor and the commentor might be implying that members of that fraternity step (perform steppin) like girls. The "just sayin" words that end that comment suggest that the commentor meant some "shade" (putdown).  

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42. Lisa Boyle
"I love this. A strong woman in control to show power. Amen."

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43. Tara P
"The beauty of this is maintaining routine even while enjoying yourself. If you can translate ritual and discipline over into your free time in a manner that is enjoyable, it teaches the brain to more deeply imprint the material. This is why teachers who make their lessons into games and songs with children see more success with. The kids retaining what they are taught. The same philosophy works for all ages. Is there a time for strict instruction? Yes. It is the hard edged instruction that teaches and reinforces the importance of the lesson. It is exercises like this that relaxes the mind and allows for the lessons to be imprinted deeper than just crisis and become a part of everyday life."

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44. J W
"Nobody can march like the Marines.  Why do you think their basic is so long?"

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45. TEAM FUBAR ATV
"I served in the 82nd Airborne division United States Army. I don't agree with this improvised D&C. I get it, there having fun and all that jazz but this is a training cycle. Discipline and training should be at the forefront of this. Not this beetle Bailey meets Major Payne bulsh-t*. as much flak as I give my buddies that are in the Marine corps or if served in the Marine corps. This really saddens me. This is not the army that I served in. Then again, I was in the infantry and we didn't have time for these games. Our lives were actually on the line when we deployed."
-snip-
*This word is fully spelled out in this comment.

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REPLY
46. Herman Greenfield
"@TEAM FUBAR ATV all work and no play, makes for a dull boy, AND DEAD SOLDIERS,

  Everyone has to have DOWN TIME. In my time we would go to bars, get drunk, get in fights, and worst. Sooo take your righteous indignation, and stick it were the sun don't shine!🇺🇸"

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REPLY
47. Kevin Moore
"@TEAM FUBAR ATV these D&C competitions take place near the END of the training cycle when these new boots know they are moving on to their first duty station or are being recycled to take the training over again. When i was in, you had one week to ten days after you completed AIT before you went to your next training school or your first duty station."

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48. Pinstripe Jim
"this isn't why, it's because she doesn't call cadence correctly when they are in full uniform and spends more time with this than teach Soldiers. Read the other comments"

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49. mtrycity
"Misleading title

No cadence was ever called"

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50. Heather W
"Ma'am, you are so completely a badass, I'm sure it wasn't easy to teach them that routine!!!"

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51. Vanha Suden
"I worked at a Military School for at risk youth, 16-18 years old, and our drill team would have dusted them in free style"

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52. Equaliser
"Not very Army, more like a dance troupe, bit girlie, only in the US army.!!!!!"

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53. Gwen Jokoh
"Heyyyyy Love it good to see they can have some fun to Thank Yall 👏👏👏👏❤❤❤❤❤❤❤❤❤❤❤❤❤❤"

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54. Drew Wright
"When did the Army turn in to SoulTrain?"
-snip-
From https://en.wikipedia.org/wiki/Soul_Train
"Soul Train is an American music-dance television program which aired in syndication from October 2, 1971, to March 27, 2006. In its 35-year history, the show primarily featured performances by R&B, soul, dance/pop, and hip hop artists, although funk, jazz, disco, and gospel artists also appeared. The series was created by Don Cornelius, who also served as its first host and executive producer."...

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REPLY
55. Ray West 
"When they got their own special T shirts for each brake dance group. That is certainly not military decorum, but more of a rap session.  With all the yelling, and screaming it sounds more like a mob.  Welcome to the new Doggie Do Do Army !"

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56. Zac White
"God bless my beloved UNITED STATES ARMY!!!!and every badass drill sargeant just like her!!!!❤️"

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57. Walker Bürmeister
"Embarrassing for our armed forces."

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58. meals123
"Nothing wrong with this. I think the military has gotten soft in some aspects but this isn’t it. Creativity and a little fun can go a long way when things get tough. Morale and unity."

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59. Princess Lisa Marie
"My high school marching band was trained the exact same way. This reminded me so much of those days. Our fronts could do the gun twirls just like that, we were sharp with our movements and moved on the field with such precision."

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60. Slide Jones
"You can always tell who was on the JROTC drill team before enlisting 💯"

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REPLY
61. Ray West
"She must have been a Majorette  in the school band, and the Army out of political correctness has allowed her to run wild. They started years ago by throwing the book out the window a page at a time, and this is what they end up with,  A floor show out of da hood.  God help us !  When did the Army turn into a High School Rally ?"

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62. Bryan Saltsman
"Who the hell salutes with half parade rest that is disgusting I guess that’s why it’s the army and not marines"

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63. Ricky Virgo
"Some say Marines to this day are still wondering wth is going on here lol"

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64. Yea4102
"Boy oh boy how times have changed since I was in...lol"

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65. Elijah Collins
"Bruh what is the army becoming"

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66. Forrest Reeter
"Female DI was unheard of 55 years ago when I was Army  basic. There may have been female DI in women’s army corp."

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67. thunderdiesel1
"I'm old skoo army, this looks like motivation to me. Motivation =discipline. Discipline =success in any generation"

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68. Mike Chris Scorpio. 
"I Work On Fort Gordon And I've Seen This Drill Sargent Marching Soldiers On Base And They ALWAYS LOOK CLEAN And In PERFECT RHYTHM With Her CADENCE📯🎶🎺"

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69. Tom Bourne
"Lord did i LOVE doing drill. If i could go back to Basic Training i would do it in a heart beat!!!!!"

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70. west hoboken 
"Aint no use in looking down,aint no discharge on the ground.Ft.Dix,NJ song in 1961 when I pulled basic."

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71. Remegio
"Wow, I was there in 94 and it didn’t look anything like this."

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72. Daniel Oliver
"Must be the new army - That never happened in the 90"s

C co 369...1994"

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73. spicy_tiger_roll
"Yassss!! You better lead that crew, mama!!!"

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74. Mare Knight
"Why do I feel like I just watch a probate?"
-snip-
A "probate" is presentation for the general public where the newest members of a historically Black Greek letter sorority or fraternity present their organization’s history and step or stroll.

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75. Xray ATMC
"This is a morale and esprit de corps .  Gives the kids a break from the mental stress of class room environment and enforces teamwork and D & C.

“This We’ll Defend”

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76. Noah m
"Outstanding. Command,Control, and Communication. Mission accomplished!"

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77. RODNEY ARMY VETERAN TRUTH TV
"Only in a unit with females.  Ft Sill Ok Field Artillery 2000"

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78. Brook’Lynn D
"i wish i could give it more likes."

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79. Charles Merritt
"I was Army 1962 1965 a little different but everything changes with time moral booster, a little fun goes a long way."

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80. John C
"Ahh ghetto"

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81. a girl is no one
"I'm sad to see the division between branches. Arguing about petty sh-t* as this. Having a little creativity that is clearly allowed is not a sin. In the scheme of things, this doesn't matter."
-snip-
*This word is fully spelled out in this comment.

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82. Ray West
"Is that a new position invented by the Army, or just violation of the drill manual. I've never seen a salute given while at parade rest"

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83. minot60
"Looks like a dedicated talented NCO brought her platoon together with discipline and pride for some awesome drill and ceremony."

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84. Secure Administrator
"Black people adding hot sauce wherever they go."
-snip-
A photograph of a young Black woman accompanied this comment.

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85. Isaiah Smith

"It’s good to loosen up and have a little fun some times!  No issues with it at all! Love the motivation"

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Similarities & Differences Between South African Gumboot Dance Performances & Performances Of Black [African American] Fraternity & Sorority Step Teams

Edited by Azizi Powell

Latest revision- August 31, 2018

This is Part II of a two part pancocojams series about South African gumboot dancing and historically Black Greek letter fraternity and sorority steppin(g).

Part II presents my comments about some similarities and differences between historically Black Greek letter organizations (BGLO) stepping and South African gumboot dancing.

Five videos of South African gumboot dancing and five ideos of historically Black Greek letter organizations step show performances are also showcased in this post.

Click http://pancocojams.blogspot.com/2018/08/was-south-african-gumboot-dancing.html for Part I of this series. Part I quotes four passages that I've found about the early influence of South African gumboot dancing isicathulo and historically Black Greek letter fraternity and sorority steppin(g) or the early influence of African American movement arts such as pattin Juba and tap dancing on South African gumboot dancing.

This post also includes my correction of a misinterpretation of a comment that I wrote about step shows and pattin Juba which is cited on the Wikipedia page for "Pattin Juba".

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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. Thanks also to all those who are featured in the videos that are embedded in this post, and thanks to all the publishers of these YouTube videos.

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SIMILARITIES & DIFFERENCES BETWEEN SOUTH AFRICAN GUMBOOT DANCING AND AFRICAN AMERICAN STEPPIN[G]*
*These comments can also be applied to performances that are done by non-African American step teams

Pancocojams Editor's Disclaimer: I'm a (long inactive) member of a historically] Black Greek Letter Organization (BGLO) - Alpha Kappa Alpha Sorority, Inc (Gamma Zeta chapter, 1967). However, the only sorority related performances that I participated in were two shows when I was pledging in late 1960s. Those performances were more like a dance routine* than what step shows were like in the 1990s when I began to attend those performances as an observer. And based on my direct observations, as well as descriptions in various books but particular Elizabeth C. Fine's book SoulStepping, and based on watching numerous YouTube videos, it's apparent that BGLO step shows have changed considerably since the 1990s.

I know nothing about South African gumboot dancing beyond what I've read and beyond a number of YouTube videos that I've watched of those performances.

I'm not a dancer, a choreographer, or a dance historian. Consequently, I'm asking for help in describing both of these dance forms and I need help in documenting their similarities and differences. Additions and corrections are very welcome. Please add your thoughts about this subject in the comment section below. Thanks!
-snip-
*Read my description of those dance performances in the comment section below.

Both South African Gumboot dancing (isicathulo) and historically Black Greek letter fraternity and sorority steppin[g] [henceforth referred to as "stepping"] are percussive, syncopated, choreographed group dances that involve foot stomping.

Quoted in http://www.mustrad.org.uk/articles/bakalang.htm]
..."gumboot dance, ... is characterised by loud.. stepping in gumboots, the clapping of hands and slapping of the boots (Muller 1999:93)
"Gumboots" is a term for Wellington (rubber boots). In the United States, South African"gumboot dancing" is almost always referred to as "boot dancing".

Here's my general comments/observations about stepping:
[These comments are given in no particular order and aren't meant to be a comprehensive description of stepping then and now.]

Like gumboot dancing, stepping" is also percussive, syncopated, choreographed group performance art characterized by loud foot stomps alternating with individual hand claps which sometimes are done under a leg that is lifted up. Stepping originated among historically Black (African American) university based Greek lettered fraternities & sororities and usually occurs at competitive "step shows", fraternities against fraternities and sororities against sororities. Each fraternity & sorority has its own distinctive way of stepping. Some organizations usually step with props such as canes which are twirled, thrown between team members, and rhythmically hit on the ground. However, other fraternities or sororities never use canes. One of those organizations which never uses canes, Omega Psi Phi Fraternity, Inc., has distinctive hopping movements, and actually prefers the reference "hops" rather than "steps" to describe their routines.

After at least 1990, an increasing number of step teams utilize props, other than canes or staffs ("props" meaning movable or carried objects used on stage), Also, after at least 1990, it has become standard for step teams to perform their step routines as part of skits which often have comedic elements. Often step team members wear costumes that reflect those themes, although after the beginning of the step routine, the costume may be discarded to reveal other clothing, often in the group's signature colors. It also has become common for some step teams to use a self-made video as a way of introducing their teams' theme for that particular show.

A stepping routine may be performed by the entire group at the same time, by one member of the step team followed by the rest of the team, or by a portion of the step team. In stepping, the performers rarely if ever touch another member of their step team- except in the performance of gymnastic/acrobat routines such as lifts.

Steppers almost always have an erect posture, except when they bend down to rhythmically tap canes or staffs. Their routines are usually done in horizontal or vertical lines and these performers utilize much of the stage in performing their routines. Prior to the 1990s, I recall seeing a step master standing to the side of vertical lines of steppers, like a military drill sergeant. I rarely see that nowadays. Instead, sometimes during portions of a step routine, a lead stepper stands in front of the step team or portions of the team.

Body patting (one's own chests and thighs) is an integral part of many step routines. However, body patting doesn't have to be included in a step routine. Traditionally, group [not call and respond] chants (and also singing for certain fraternity or sorority step teams) are still an integral part of step routines. However, it appears to me that there's much less chanting since the 1990s than their previously was (in the 1970ss and 1980s).

BGLO fraternities and sororities have certain distinctive routines. BGLO fraternities and sororities have distinct moves (such as the Kappa shimmy, the Q hop, and members of Alpha Kappa Alpha Sorority, Inc., holding their hand up in imitation of a mirror, and flicking their hair back, in homage to their image as "pretty girls"). Members of step routines routinely include their hand gestures and signature calls in their routines. Members of most fraternities often include "hard" facial expressions such as "mean muggin'" while they perform their step routines. Step teams and their audiences also incorporate BGLO calls and organizational hand gestures [signs] in step performances.

Traditionally, stepping is a performed without any live musical instruments or any recorded music. That is still the case, but it has become standard to include brief clips of recorded music (usually from R&B/Hip Hop genres) and R&B/Hip Hop dancing during portions of a group's step show. Acrobatic/gymnastic movements have also become a standard part of BGLO step routines.

Fraternity step team embers may wear hard soled shoes or construction boots, sometimes spray painted in one of the fraternity's signature colors (such as Omega Psi Phi, Inc. members wearing gold sprayed boots. Sorority step teams often perform in high heels. The term "Wellingtons" or "wellies" is unknown in the United States, and rubber boots are never worn during performances. Furthermore, slapping the top of one's shoe or [construction] boots isn't done in stepping.

Audiences during step shows are very loud, and boisterous, shouting approval or criticism, and making hand gestures and signature calls for the organization that is performing or for their competitive organizations.

Here are some general comments/observations about gumboot dancing:
Traditionally gumboot routines were performed by males only. However, there are a number of YouTube South African videos of combined male and female gumboot groups.

From the videos that I've watched, it appears that gumboot performers traditionally perform their routines standing in one place in a horizontal line. However, some videos of gumboot dancing such as those cited earlier show dancers utilizing more of the "dance stage". Some videos show a lead dancer or alternating dancers standing in front of the rest of the group.

It appears to me that traditionally, gumboot dancers have a bent at the waist posture while performing their routines. That said, I've noticed some gumboot dancers who have a much more erect posture than most gumboot dancers whose videos I've seen (as in video #3). I don't know if this indicates a change in the traditional posture or not.

Apart from staged productions like the show Gumboots, gumboot dancing also appears to be performed without any live musical instruments or recorded music. I don't know if gumboot dance performances are competitive. I also don't know whether gumboot dance troupes have distinctive, signature moves, colors, gestures, songs, and calls that are incorporated into their gumboot routines like step teams do. From watching YouTube gumboot videos, it doesn't appear that gumboot dance groups utilize any props, including canes.

Based on the videos that I've watched of gumboot dancing and in the articles that I've read about that performance art, body patting doesn't appear to be as integral a part of gumboot dancing as it is in many BGLO stepping routines. Instead of doing any chest patting, gumboot dancers rhythmically slap the top or sides of their Wellington boots.

Bells may be added to the gumboots to enhance the rhythmic sound of the boot stomping and the boot slapping.

Video #1 and Video #3 given below shows the gumboot dance groups singing traditional [?] African songs prior to or while they do their gumboot routines. Many of the gumboot videos I've watched include some occasional vocalizations, but that the vocalization is usually done by one performer. It appears to me that that performer who may be giving directions to the rest of group. And what appears to me to be more traditional performances, that "lead dancer" is usually standing in the same line as the other dancers, and not standing in front of the other dancers.

For male performers only pants but no tops appears to be the most traditional attire. Based on the videos that I've seen, most male and female gumboot dancers now (2018) wear pants and tee shirt, or overalls (work uniforms). Miners hard hats appear to be worn by gumboot dancers, although some gumboot dance groups wear bandanas instead of hard hats.

Gumboot dance performances don't appear to be centered around any skits, but there may be some comedic elements incorporated into that routine to appeal to audiences.

Unlike stepping, facial expressions-hard (tough) or otherwise-don't appear to be an element of gumboot performances.

I've seen some videos of gumboot dancers incorporating popular dance moves into their performances and even including some brief snippets of American R&B/Hip Hop songs (video #5 below). However, I don't know how common this is.

I'm not sure if the performances are competitive or not.

It appears that audiences for gumboot dance performances are also loud and boisterous.
-snip-
Click http://pancocojams.blogspot.com/2013/05/an-overview-of-black-greek-letter.html

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SHOWCASE STEPPING VIDEOS
Example #1: Alpha Phi Alpha Steps



Willy R·Uploaded on Nov 2, 2006

DI Step Show

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Example #2: Kappa Alpha Psi, Xi Chapter - Howard Homecoming Step Show 2012



Hu Reaction, Published on Oct 23, 2012

Kappa Alpha Psi Xi Chapter performing at the Howard University Homecoming Step Show 2012

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Example #3: DST WINS 2013 Atlanta Greek Picnic $10,000 step show @Atlgreekpicnic [Delta Sigma Theta Sorority, Inc.)



Atlanta Greek Picnic, Published on Jun 10, 2013

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Example #4: Omega Psi Phi, Alpha Chapter - Howard 2016 Step Show



Kaelan Laurence, Published on Oct 25, 2016

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Example #5: Sigma Gamma Rho WINS 2017 Atlanta Greek Picnic $10,000 Step show (Official Video) #AGP2017 #DewXAGP



Atlanta Greek Picnic, Published on Jun 29, 2017

The Ladies of Sigma Gamma Rho Sorority, Inc WIN the 2017 Atlanta Greek Picnic $10,000 Step show Friday June 23rd, Morehouse College. Sponsored by Mountain Dew.

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SHOWCASE GUMBOOT VIDEOS
Example #1: South Africa 32: Gold Mine Dance



Yaiyasmin, Published on Dec 26, 2009

In Gold Reef City the zulu dancers showed us a mine dance with helmets, boots and kaching kaching!

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Example #2: Gumboot Dancers in South Africa



Mycompasstv, Published on Oct 28, 2009

Gumboot dancing is a century old tradition which originated during the mining era of Johannesburg, South Africa. Dancers wearing gumboots, create rhythms by slapping boots and bodies, using voices and stamping their feet.

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Example #3: Hilton College Gumboot Dance troupe



paphiwe, Published on Apr 29, 2011

2008 Hilton College gumboot troupe in action

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Example #4: Gumboot Dance



Waterford Kamhlaba, Published on Apr 16, 2013

On the 8th of March, His Majesty, King Mswati III of Swaziland visited Waterford Kamhlaba in celebration of the 50th Anniversary. Some Waterford students performed a gumboot dance for His Majesty.

A video by
Iwani Zoe Mawocha

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Example #5: Togetherness Gumboots Dancers



simon moabi, Published on Nov 30, 2013

Togetherness was established in 2006 with the primary aim of organizing young people from different backgrounds in and around Ratanda Area. Currently has a membership of 15, and specialise mainly in Gumboots Dancing.

The group has won many hearts in the communities of Gauteng and its surroundings. We have performed for dignitaries and in many other special occasions and were happy with feedbacks

The group has won several awards in Gumboots Dancing, e.g. Gauteng Dance Showcases, TAXIDO's Mazibuye Emasisweni Festival, Masakhane Arts Festival and few others.

The Groups Mission is to expose young people's talents, and the Vision is to be well recognized around Southern Africa and abroad.

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Thanks for visiting pancocojams.

Visitor comments are welcome.

The Influences Of American Minstrelsy & Early 20th Century Black Dances On South African Gumboot Dances

Edited by Azizi Powell

Latest Revision: April 6, 2022: These changes include this title change and removal of content about American influences on historically Black Greek letter stepping and strolling

Original title: "Was South African Gumboot Dancing REALLY The Main Source Of The Movements For Historically Black Greek Letter Fraternity & Sorority Stepping?"

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This is Part I of a two part pancocojams series about South African gumboot dancing and historically Black Greek letter fraternity and sorority steppin(g).

Part I presents excerpts about the early influence of African American movement arts such as pattin Juba and tap dancing on South African gumboot dancing.

Click http://pancocojams.blogspot.com/2018/08/similarities-differences-between-south.html for Part II of this series. Part II presents my comments about some similarities and differences between historically Black Greek letter organizations (BGLO) stepping and South African gumboot dancing.

Five videos of South African gumboot dancing and five videos of historically Black Greek letter organizations step show performances are also showcased in that post.

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

All copyrights remain with their owners.

Thanks to all those who are quoted in this post.
-snip-
Portions of this post were previously published in the following pancocojams post:
http://pancocojams.blogspot.com/2016/10/the-origins-of-south-african-gumboot.html "The Origins Of South African Gumboot Dancing

and

http://pancocojams.blogspot.com/2016/10/correcting-record-south-african-boot.html Correcting The Record - South African Boot Dancing Isn't The Direct Source Of Fraternity & Sorority Stepping

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SOME SOUTH AFRICAN INFLUENCES AND SOME BLACK AMERICAN INFLUENCES UPON SOUTH AFRICAN GUM BOOT DANCES
These excerpts are given in no particular order. Numbers are given for referencing purposes only.
Excerpt #1:
From http://www.mustrad.org.uk/articles/bakalang.htm
..."For most Bhaca* migrants to eGoli**, the City of Gold, work and leisure were continually controlled by structures of authority and surveillance in the form of mine bosses, managers and police. In this context, all space was public. There was little room for individual expression or privacy. The nature of this experience gave rise to the particular aesthetic of gumboot dance performance, regardless of who now performs the dance (Muller 1999: 91).

The gumboot style of dance draws on a variety of dance sources: Bhaca* traditional dances such as ngoma; minstrel performance; popular social dances such as those that accompanied jazz music performance in the 1930s and 40s. The jitterbug, for example, and most obviously, the tap dance popularised through films of Fred Astaire and Gene Kelly. Gumboot dancers may have been influenced by touring black tap dance groups (Muller 1999: 100). Erlmann (1991: 99-100) argues that isicathulo or gumboot dance was developed around mission stations in KwaZulu Natal with the introduction of footgear to African peoples by missionaries in the late 19th century (Mulller 1999: 92):

Isicathulo means shoe, boot or sandal; it also refers to a boot dance performed by young boys since the first contact with Europeans (Muller 1999: 94).

In their search for aesthetic models and expressions of self-conscious urban status, v [sic: we've?] first became interested in the dances and songs developed in and around the mission stations. Interestingly, it was on rural mission stations that isicathulo, one of the first urban working-class dance forms, developed. Tracey maintains that the original isicathulo dance was 'performed by Zulu pupils at a certain mission where the authorities had banned the local country dances.' The name isicathulo, shoe, boot or sandal, reflects the introduction of footgear at the missions, the sharp sound of boots and clicking of the heels contrasted with the muffled thud of bare feet in more rural dances such as indlamu-Zulu (Erlrnann 1991: 99).

Coplan (1985: 78) argues that schools picked up new urban influenced rural dances, even though missionaries forbade them. One such dance, is cathulo (shoe) was adopted students in Durban; from there it spread to dock workers who produced spectacular rhythmic effects by slapping and pounding their rubber Wellington boots in performance. All this rhythm made it popular with mine and municipal labourers elsewhere, especially Johannesburg. There it became the 'gumboot' dance, divided into a series of routines and accompanied by a rhythm guitar. By 1919, gumboot had filtered back into school concerts. It soon became a standard feature of urban African variety entertainment, and a setting for satirising characters and scenes drawn from African work life.

What clearly distinguishes all gumboot dance from earlier rural practices is its use of footgear for its performance. Pre-colonial dance forms are generally thought to have been performed barefoot. One Zulu name given to gumboot dance, isicathulo, provides the first indication of innovation. The root of the word cathama means to walk softly, quietly and stealthily. It has been incorporated into two kinds of black performance culture in South Africa: isicathamiya and isicathulo. The first is the style of music and dance performance recently made famous by Joseph Shabalala and Ladysmith Black Mambazo. In this context it means to walk softly and stealthily, like a cat. The second refers to the opposite, gumboot dance, which is characterised by louder stepping in gumboots, the clapping of hands and slapping of the boots (Muller 1999:93)

Perhaps the most revealing source, however, is the dance as practised by these older Bhaca dancers and transmitted to their sons in KwaZulu Natal. Unlike the autonomy of many dance forms in the Western world, gumboot dance engages and comments on the exigencies of everyday experience in mine culture (Muller 1999: 98)."...
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* "The Bhaca people or amaBhaca are an ethnic group in South Africa, mainly found in the small towns of the former Transkei homeland, Mount Frere, Umzimkhulu and surrounding areas - a region that the amaBhaca call kwaBhaca, or "place of the Bhaca". (The Bhaca people or amaBhaca are an ethnic group in South Africa, mainly found in the small towns of the former Transkei homeland, Mount Frere, Umzimkhulu and surrounding areas - a region that the amaBhaca call kwaBhaca, or "place of the Bhaca". (Eastern Cape, South Africa)

While the amaBhaca are often considered to be part of the more populous Xhosa people, they maintain an independent kingdom and distinct culture."...https://en.wikipedia.org/wiki/Bhaca_people

**"EGoli"= Johannesburg, South Africa

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Excerpt #2:
From South African Music: A Century of Traditions in Transformation, Volume 1 by Carol Ann Muller (Google book), p. 161, and 163 (162 isn't available in the Google Book version).
Carol Ann Muller writes that gumboot dancing (South African term isicathulo) first began in the Christian missions that were established for Black South Africans. The gumboot dancing in the mines is a significant development of that dance but not the only form of that dance.

Here are some quotes from that book:
"Isicathulo means shoe, boot, or sandal; it also refers to the boot dance performed by young boys since the first contact with Europeans. It is defined as “a modern rhythmic dance adopted by certain Christian natives, in which dancing is both individual and in groups. (Cockrell 1987, 422)....

p. 163
"The other cultural influence that shaped gumboot dancing was the minstrel shows, performed in Durban by American and English troupes beginning in the nineteenth century. Jonney Hadebe, one of the members of Blanket Mkhize's gumboot team explains the early history of gumboot dance in a program note written for the South African Railway's gumboot dancers:
In 1896, subsequent to watching white men tap dancing and clapping their hands, the amaBaca decided to make a dance of their own. They called it the gumboot dance. The dance was a rhythmically performed act of dancing, clapping hands, and slapping the calve muscles-the calf muscles being protected by rubber gumboots.

In the year 1896, the group consisted of eight members, six dancers, and two playing musical instruments. In those days the soles of the gumboots were cut off and the dancers wore shoes....

I have been a gumboot dancer for the past twenty-three years. (Jonny Hadebe, ca. 1978)

.... (p. 165)
It is quite feasible that the amaBaca saw minstrel shows performed by white black-faced minstrels in 1896. It is not clear, however, if it is tap dancing or simply the complex footwork of minstrel performers that impacted upon those men in that year....

Tap dancing is also reported to have been extremely popular at the Bantu Men's Social Center in Johannesburg in the 1930s. (Phillips ca. 1938, 297). This would have been the more sophisticated gumboot dancing that Hadebe subsequently discusses."

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Excerpt #3
From Elizabeth C. Fine's book SoulStepping: African American Step Shows (University of Illinois Press, 2007):
p. 78
The rubber boot or gumboot dancing... is an excellent example of the complex relationships between African and African American music and dance. Gumboot dancing (isicathulo), one of the first urban working-class dances in South Africa, may have been developed in rural missions by Zulu pupils who were not allowed to perform traditional dances. The word isicathulo, Hugh Tracey notes, means “shoe”. When the students danced the shoes that missions required them to wear created louder sounds than did bare feet. Around the time of World War I “rural, urban, mission, and working-class performance traditions” intermingled in isicathulo, which “as a step-dance” was closely related if not identical to other dance forms that had evolved earlier among farm laborers and inhabitants of the rural reserves.” (3)

Erlmann suggest that isicathulo dancers “frequently indulge in sophisticated solo stepping, prototypes of which had been available to migrant workers, from the mid-1920s through Charlie Chaplin and Fred Astaire movies as well as touring black tap dance groups.” Indeed, South Africans were exposed to African American music and dance traditions as early as 1890, when Orpheus M. McAdoo and the Virginia Jubilee Singers spent almost five years touring South Africa. In subsequent years, black South Africans came to the United States. One, the famous “ragtime composer Reuben T. Caluza, renowned “as a skilled isicathulo dancer”, enrolled in Virginia’s Hampton Institute in 1930 to earn a B.A. in music. Caluza and three other students from Africa formed the African Quartette performing both songs and dances along the East Coast.

They even sang for Franklin D. Roosevelt Quartet member Dwight Sumner wrote that in their summer tour of 1931 the “African Quartette sang Zulu songs, under the direction of Mr. Caluza, and also gave African folk dances.” It is likely that Caluza shared his talents with students. If so, members of fraternities and sororities could have incorporated some gumboot movements into stepping. Caluza went on to earn a masters degree at Columbia University in 1935, where again he could have shared gumboot dancing with students.

Malone notes that during the 1970s and 1980s gumboot dancing “was introduced in North American urban areas and showcased by many of the dance companies that performed styles of traditional African dances.” Evidence from Erlmann, however, suggest the possibility if a much earlier exposure to gumboot dancing and, conversely, the incorporation of African American influences into South African dances. Caluza’s story is only one small example of the continuous interactions among Africans and African Americans that created a complex interaction between music and dance forms on both continents"...

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This concludes Part I of this three part pancocojams series.

Thanks for visiting pancocojams.

Visitor comments are welcome.

Information About & Examples Of The Children's Song "A Ram Sam Sam"

Edited by Azizi Powell

This pancocojams post provides multiple examples of the children's song "A Ram Sam Sam".

"Ram Sam Sam" is modeled after a Moroccan (North African) folk song.

Particular attention is given in this post to the similarities between knee slapping motion that accompanies the lyrics of some versions of "A Ram Sam Sam" and the African American associated percussive motions "pattin juba" ("hambone").

Click http://pancocojams.blogspot.com/2017/01/information-about-and-multiple-examples.html for the companion post about the children's song "A Pizza Hut".

The content of this post is presented for cultural, entertainment, and recreational 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.

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COMMENTS ABOUT AND TEXT EXAMPLES OF "A RAM SAM SAM"
These comments and/or lyrics are given in no particular order.
Comments/lyrics #1
From https://en.wikipedia.org/wiki/A_Ram_Sam_Sam
"A Ram Sam Sam (A rum sum sum)" is a popular children's song and game which originated in Morocco.[citation needed] In certain later recordings, other variants were used like "Aram" instead of "A Ram" and "Zam Zam" instead of "Sam Sam".

Lyrics, movements and meaning
The song's lyrics are usually:
A ram sam sam, a ram sam sam
Guli guli guli guli guli ram sam sam
A ram sam sam, a ram sam sam
Guli guli guli guli guli ram sam sam
A rafiq, a rafiq
Guli guli guli guli guli ram sam sam
A rafiq, a rafiq
Guli guli guli guli guli ram sam sam

When not played as a game, this song can also be (and very frequently is) sung as a round.

The game is played by a group of children. The song is sung by the group leader and the participants should perform several actions during certain lyrics, usually:
A ram sam sam - pound fists, right over left, then left over right.
Guli guli - pull hands apart gesturing as if something were gooey
A rafiq - spin index fingers on either side of the head (like someone is crazy), ending with the fingers pointed up.

A version of the song by Liverpool folk group The Spinners, who claimed to have learned the song from an Israeli singer and that the words were in Aramaic,[citation needed] had the following lyrics:
Aram sa-sa, aram sa-sa,
Galli galli galli galli galli galli ram ra-sa. (2x)
Arami, arami,
Galli galli galli galli galli galli ram ra-sa. (2x)

The translation they gave was "Get up on your horse and gallop away". When they performed the song, the group would make it an audience-participation song, splitting the audience into two halves and encouraging them to sing it as a round.

Pop culture usage
The Spinners included a version of the song on their 1964 album Folk at the Phil, under the title "Aram Sa-sa".

Rolf Harris recorded the song in 1971 for Columbia Records with The Mike Sammes Singers[1] This version contains additional lyrics and distinctive arrangement with backing vocals…..

Sampling
Tom Tom Club used part of the "A Ram Sam Sam" lyrics in their song "Wordy Rappinghood". This song is found on their self-titled debut album from 1981."

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Comment/lyrics #2:
From http://www.mamalisa.com/?t=es&p=4227 Mama Lisa’s World: International Music & Culture
"A Ram Sam Sam

Songs & Rhymes From Morocco

"A Ram Sam Sam" is a popular song all over the world. The phrase "a ram sam sam" has no actual meaning.
Notes
Guli is pronounced as "gool-lee".

The Arabic word "rafiq" means companion, friend, mate, comrade or colleague.

According to the book, "Daily Life in the Medieval Islamic World" (2005) by James E. Lindsay, in Medieval times, "rafiq" referred to a traveling companion. People always traveled with a rafiq for safety.
Game Instructions
-On the phrase, "A ram sam sam" - Clap hands on your lap.
-On "Guli guli" - Spin hand over hand in a circle.
-On "A rafiq" - Hold hands apart miming that they're pulling apart something gooey."

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Comments/lyrics #3, #4, #5
#3:
From http://mudcat.org/thread.cfm?threadid=67001
"Subject: RE: Lyr Req: A Ram Sam Sam (from Rolf Harris)
From: ReeBop
Date: 16 Feb 04 - 11:01 AM

I learned this with both "ramm samm samm" and "Pizza Hut"

We would do it at the table (like in the cafeteria at lunchtime) with ourhands. Like this:

a - fists on table, thumbs up
ramm - thumbs on table
samm: index and middle fingers on table
samm: index and pinkie fingers on table
REPEAT
keep going through the goolies same beat
A Rafi - life hands up together and beat them down on "fi" x2
then back to the fingers thing to the end...

then we would do it again getting faster and faster until our hands hurt...it was also really fun to get the opposite sides of the tables to do each part at a different time like a round.

Drove the lunch ladies nuts."

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#4: "Subject: RE: Lyr Req: A Ram Sam Sam (from Rolf Harris)
From: Monique
Date: 10 Mar 10 - 08:36 AM

I've seen it mentioned as a Moroccan song too. "Guli" means "say" in Arabic but I don't remember the meaning of "a raffi" (or however it's spelled)."

**
#5: From: GUEST,Anne
Date: 07 Oct 15 - 04:10 PM

"not raffi, but rather rafiq- friend or companion."

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Comments/lyrics #6
From http://thefolkmusicexperience.weebly.com/a-ram-sam-sam-from-morocco.html
A RAM SAM SAM

A ram sam sam, a ram sam sam
Guli guli guli guli guli ram sam sam
A ram sam sam, a ram sam sam
Guli guli guli guli guli ram sam sam

A rafiq, a rafiq
Guli guli guli guli guli ram sam sam
A rafiq, a rafiq
Guli guli guli guli guli ram sam sam

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Comments/lyrics #7
From http://thefolkmusicexperience.weebly.com/a-ram-sam-sam-from-morocco.html
"SONG LYRICS: A Ram Sam Sam

A ram sam sam, a ram sam sam
Guli guli guli guli guli ram sam sam
A ram sam sam, a ram sam sam
Guli guli guli guli guli ram sam sam

A rafiq, a rafiq
Guli guli guli guli guli ram sam sam
A rafiq, a rafiq
Guli guli guli guli guli ram sam sam

BACKGROUND
This week's folk song is "A Ram Sam Sam ", a popular children's song from Morocco.

While singing, try the following movements:
A ram sam sam - pound fists, right over left, then left over right.
Guli guli - pull hands apart gesturing as if something were gooey
A rafiq - raise both arms high in the air and then down to the ground"
-snip-
The video is presented with these lyrics is given as Example #1 below.

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Comments/lyrics #8 https://au.answers.yahoo.com/question/index?qid=20080608224536AAQg5HJ
Children's song "A Ram Sam Sam" meaning/translation?
"From what are the original words to Morocca folk song a ram sam sam
based on a Moroccan folk song . The lyrics are mostly nonsense words without any meanings.

Does anyone know the translation of this song? It's sung by scouts and used as a children's song nowadays but originally it was a Moroccan Folk song... Any ideas?

Best Answer: Any lyrics that have been attached to this song in English are flights of fancy and imagination. Though adopted by the scouting movement, Pizza Hut and various other commercials, it initially was a lullaby with a beautifully melodious tune. The sounds are in fact onomatopoeias a bit like in the Christmas carol "Lullaby" which plays on the various syllables of the word ("lully -lulla- lully") and the "rat-a-tat-tam" in "The Little Drummer Boy"...

Source(s):
Specialist in Linguistics"
WISE OWL, 2007
-snip-
Additional text versions & additional examples of accompanying movements are given in the showcase video section below.

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SHOWCASE VIDEOS
Example #1: A Ram Sam Sam



Jeffrey Friedberg, Published on Feb 9, 2014

A Ram Sam Sam is a popular children's song from Morocco.

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Example #2: Ram Sam Sam (do Musical ZÓI, o Super Herói)



ZÓI O SUPER HERÓI, Published on Sep 15, 2015

Tema do Musical Zói, O Super Herói: este é o jogo preferido da Tété, amiga do Zói. E todos gostam do desafio!

Vamos treinar? Primeiro devagar, mais depressa, mais, mais rápido!

Mãos ao ar, para começar, a jogar ao ram sam sam, e tu vais gostar!

[Google translate from Portuguese to English: "Ema of the Musical Zói, The Super Hero: this is the favorite game of Tété, Zói's friend. And everyone likes the challenge!

Let's practice? First slow, faster, faster, faster!

Hands on the air, for starters, playing at sam sam ram, and you'll like it!"]

A ram sam sam, a ram sam sam

Guli guli guli guli guli, ram sam sam

A ram sam sam, a ram sam sam

Guli guli guli guli guli ram sam sam

ZÓI, ZÓI

Guli guli guli guli guli, ram sam sam

ZÓI, ZÓI

Guli guli guli guli guli ram sam sam

[www.zoisuperheroi.pt]
-snip-
Notice the knee slapping motion in this and some other "A Ram Sam Sam" videos. During that part of "A Ram Sam Sam" the performer bends down and rhythmically slaps his or her knees. This motion is the same or very similar to the African American associated percussive motion called "patting juba" (or "hambone") - "hambone" being a pattin juba song. Click for a pancocojams post on "patting juba" http://pancocojams.blogspot.com/2011/10/pattin-juba-hambone-and-bo-diddley-beat.html. In particular, view this "hambone" video: https://www.youtube.com/watch?v=v8r5wxpa3hg hambone - Steve McCraven that is included in that post.

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Example #3: A Ram Sam Sam Dance



Advanced Step KG Published on Mar 12, 2015

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Example #4: Molnár Orsi : Ram sam sam


Orsi Molnár, Published on Jun 15, 2016

Ritmusjáték Marokkóból

Próbáld utánozni a gyerekeket! Nem is olyan egyszerű, ugye?

[Google translate from Hungarian to English:
Try to imitate the kids! Not so simple, is not it?]

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Example #5: Gasca Zurli - A ram sam sam



Zurli Official, Published on Jul 15, 2016

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Two Videos Of Traditional Congolese Dancing That Include Body Patting & Stepping Movements

Edited by Azizi Powell

This post is Part I of a two part series that showcases the traditional dancing, singing, and musical instrument performances of Democratic Republic Of The Congo's Ballet Arumbaya Ndendeli.

Part I presents two videos of that group that showcase that group's musical and dance performances. While I love these entire performances, of particular interest are the dancers'/drummers' performances of body patting and stepping/strolling movements that are most closely associated with, if not originated from historically Black Greek lettered fraternities and sororities step teams.

Click http://pancocojams.blogspot.com/2016/08/five-videos-of-congolese-traditional.html for Part II of this series. Part II presents five videos of Ballet Arumbaya Ndendeli that showcase that group's musical and dance performances. Selected comments from one of those video's discussion threads is included in that post.

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

All copyrights remain with their owners.

Thanks to all of those associated with Ballet Arumbaya Ndendeli for their outstanding musical and dance performances. Thanks also for sharing these videos on YouTube.

Unfortunately, as of this post's publication, there are no comments in these videos' discussion threads and I've not been able to find out any information about Ballet Arumbaya Ndendeli. Information about these dances & songs, and information about this group would be greatly appreciated.

Click the African American fraternity & sorority stepping tag and the Pattin Juba tag below for pancocojams posts about those performance art movements.

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SHOWCASE VIDEOS
Example #1: Spectacle de Danse Africaine par Ballet Arumbaya Ndendeli



Ballet Arumbaya Ndendeli, Published on Nov 17, 2014

Un beau mélange de danse et parcussion congolaise par Ballet Arumbaya Ndendeli en Octobre 2014
-snip-
At various times in this video, the male drummers'/dancers' movements remind me of fraternity & sorority stepping. In particular, notice the sequence that begins at 6:41, holding one bent leg up at 6:44, and the leaning leg movement that is done at 6:48.

Also, notice the female dancers performing body patting movements at 8:51 in this videos. Some of their foot and arm movements in this video and particularly after that sequence also remind me of stepping.

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Example #2: Spectacle de percussion traditionnelle congolaise par Ballet Arumbaya Ndendeli



Ballet Arumbaya Ndendeli Published on Nov 17, 2014

Un beau mélange de danse, chansons et percussion traditionnelle Congolaise par Ballet Arumbaya Ndendeli a Kinshasa D.R. Congo
-snip-
The stepping and body patting -chests pat alternating with (the person's own) hand claps- sequence occurs in the beginning of this video and particularly from .04 to .015. Also, notice the "ripple" movement that occurs at 4:54 - 5:01 of this video. Similar "ripples" are a feature of some historically Black Greek lettered organizations (BGLOs) stepping routines. And notice the group's counterclockwise marching, prancing, and "stepping" in a vertical line that begins at 6:40 of this video. That sequence reminds me of African American fraternity and sorority strolls (party walks) even more than actual historically African American Greek lettered fraternity and sorority stepping routines.

(Also notice that two of those drummers/dancers are women.)

That body patting movement which was known in the 19th century United States as "pattin Juba" is still sometimes performed during historically Black Greek lettered fraternity and sorority stepping, as well as other organizations that have adopted those performance styles.

The title of this and some other Ballet Arumbaya Ndendeli videos indicates that their dancing is traditional Congolese. I'm wondering is all of their dancing traditional, and if so, what is/are the name or names of the traditional Congolese dance or dances that includes body patting, in particular.

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Jackson 5 - ABC & Two 2015 Ads That Feature A Cover Of That Song

Edited by Azizi Powell

This post showcases the 1970 Jackson 5 record "ABC" as well as two 2015 ads that feature a cover of that record.

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

All copyrights remain with their owners.

Thanks to the Jackson 5 for their musical legacy. Thanks also to all those who are featured in this post and thanks to the publishers of these examples on YouTube.

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INFORMATION ABOUT THE JACKSON 5'S "ABC" RECORD
From https://en.wikipedia.org/wiki/ABC_(The_Jackson_5_song)
""ABC" is a 1970 number-one hit song by the Jackson 5. It was first heard on American Bandstand (on the ABC network) on February 21, 1970[2] just before it was released on February 24.[3] "ABC" knocked the Beatles' song Let It Be off the number one spot on the Billboard Hot 100 in 1970, and was also number one on the soul singles chart for four weeks.[4] It was written with the same design as their first 1970 hit I Want You Back.

"ABC" was the first single from the Jackson 5's second album ABC which was released on May 8, 1970,[5] and is considered to be one of the band's signature songs. It is one of the shortest titles to hit #1and is the first song alphabetically in the list of #1 hits of the Billboard Hot 100...

Lead vocals by Michael Jackson, Jermaine Jackson, Tito Jackson, and Jackie Jackson.

Background vocals by Michael Jackson, Jermaine Jackson, Tito Jackson, Jackie Jackson, and Marlon Jackson.

Written and produced by The Corporation: Berry Gordy, Jr., Alphonzo Mizell, Freddie Perren and Deke Richards"...
-snip-
Click http://www.azlyrics.com/lyrics/jackson5/abc.html for lyrics to the Jackson 5's ABC.

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SHOWCASE EXAMPLES
With the exception of Example #1, these videos are presented in chronological order based on their publishing date on YouTube with the oldest dated video given first.

Example #1: JACKSON 5 "ABC" on The Ed Sullivan Show



The Ed Sullivan Show, Uploaded on May 12, 2010

Performed on "The Ed Sullivan Show" on May 10, 1970...


The Ed Sullivan Show

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Example #2: Target Jeans Jam tv commercial ad 2015 HD • Back to School



Aban Commercials, Published on Jul 21, 2015

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Example #3: (Full-length Music Video) "A-B-C, Easy as 1-2-3!" by ABCmouse.com



ABCmouse.com Early Learning Academy, Published on Sep 9, 2015
Learning can truly be as easy as ABC, 1-2-3, and Do-Re-Mi!

This full-length version of the classic song “ABC” features more than 100 of the country’s best young dancers and was choreographed by Nappytabs, the renowned choreographers known for their work with such TV shows as “So You Think You Can Dance” and “Dancing with the Stars.”

Watch these energetic young children sing and dance as they welcome a new student to her first day of school. And as they dance their way through this classic song, they show their new friend that learning and fun can be one and the same!

...ABCmouse.com Early Learning Academy is the leading and most comprehensive online learning program for children ages 2–7...
-snip-
.54-1.01 in this video features steppin movements that have been popularized by historically African American fraternity and sorority Greek letter organizations. That part of steppin is based on the 19th century and probably earlier African American percussive art called "pattin juba". The African American/Caribbean originated dance styles of b-boying, locking, and popping are also featured in this video.

Isaiah Morgan is the name of the lead boy who is wearing green. The names of other dancers are given in some of the comments in the video's discussion thread.

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West African Roots Of The Harlem Shake Shoulder Movements

Edited by Azizi Powell

Since the Harlem Shake video craze erupted on the internet in February 2013, there has been renewed interest in the origins of the Harlem Shake dance. The "real" Harlem Shake dance emphasizes rhythmic shoulder movements. This rhythmical dance is in stark contrast to the just-for-fun mish mash motions that mostly costumed people do in the recent Harlem Shake videos.

The Ethiopian Eskista dance is often cited as the source for the "original" Harlem Shake of 1981, which was then popularized in 2001 by its inclusion in a number of Hip-Hop videos. However, in my post on the Harlem Shake The Harlem Shake (Origins, Old School Examples, & Internet Meme) http://pancocojams.blogspot.com/2013/02/the-origins-several-examples-of-harlem.html, I suggested that it's much more likely that someone who knew about the Eskista dance and saw the albee/Harlem Shake dance, recognized the similarities between those two dances.

This post showcases seven videos of songs from Benin, West Africa. While the music is worthy to be listened to on their own merits, and the entire videos are quite interesting to watch, in this post I would particularly like to direct viewers' attention to the shoulder movements that are performed by the dancers. I'm not a dance historian, nor am I a dancer, but it strikes me that these shoulder movements* are quite similar to the Harlem Shake's shoulder movements.

*Are these shoulder movements called isolations or popping?

This is not to say that these Beninese dance movements are the direct or even the indirect source of the Harlem Shake. This also is not to say that these Beninese dances are the only examples of dancing that includes shoulder movements in Benin, West Africa or in traditional dancing from any other African nation.

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

All copyrights remain with their owners

FEATURED VIDEOS
(These videos are presented in no particular order.)

Example #1 alekpehanhou agbon hou agbon



polorishas1, Uploaded on Feb 28, 2009

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Example #2: Abomey Hogbonou


vignon2000, Uploaded on Jan 6, 2008
A Benin: bomey Hogbonou
-snip-
Here are three comments from that video's viewer comment thread:
http://www.youtube.com/watch?v=u1T3UQ61uJc

fanhopem 2008
"I like this song because it talks about reconcialition between ethnics in Benin."
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Rasprogress, 2009
"Come to think of it, Haitian Kreyol sounds so much like Fon. I've been enjoying this clip so much. Me do Apke mon confrere."
-snip-
"Fon" is an ethnic group and a language. Click http://www.africaguide.com/culture/tribes/fon.htm for information about Fon.
**
Outreachat, 2010
"This is exactly like the bolojo music of the Egba-Egbado, the Egun's neighbours in Nigeria. There are elements of the old sakara tradition of Yusuf Olatunji in it as well. Those of us in Nigeria must continue to hope that the renewed attention that Tope Alabi is giving bolojo in her gospel music will elevate the quality of modern interest in the form. Bolojo (at least that's how I know what I've just heard) is a very fine, intricate form of call-and-response music."
-snip-
Unrelated to the dance movements in this video, I just want to say that I love those women's hair styles which contemporary African Americans call "Nubian knots".

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Example #3: Didolanvi Félix



polorishas1, Uploaded on Feb 21, 2009

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Example #4: Anice pépé Nayé



BENIN CHANNEL Uploaded on Aug 30, 2009

Benin Musique

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Example #5: Agbadja, Gbessi Zolawadji (Benin)


Chapeauson, Uploaded on Jan 25, 2010
Tous mes Respects à Gbessi Zolawadji et ses talentieux chorégraphes.Notre tradition fait notre force!!!
-snip-
This video also showcases body patting the source of African American patting juba (commonly known as hambone). Some forms of pattin juba can still be found in historically Black Greek lettered fraternity and sorority steppin’ routines.

Click http://pancocojams.blogspot.com/2012/03/hambone-african-roots-contemporary.html for a post about the Hambone - African Roots & Contemporary Examples

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Example #6: Benin- Ange Ahouangonou - Kpagbe se



yel Yel, Uploaded on Apr 24, 2008

kaka music from benin
-snip-
“Kaka” is a type of rhythm.

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Example #7: BENIN SAGBOHAN Miétonouwè



Frere Kandevie, Uploaded on May 29, 2008

Extract from Roots (West Africa)
-snip-
This vocalist's/musician's name is Sagbohan Danialou ("Danialou" is his personal name & "Sagbohan" is his surname).

ADDENDUM
Here's a quote from http://www.african-music-safari.com/agbadza.html about the Agbadja rhythm & dance that I believe is performed in video example #5, and perhaps also in other videos on this post:
"The Famous Ewe Rhythm And Dance.

It's probably Agbadza, if there's only one traditional rhythm you remember upon return from Ghana or Togo. To tourists without any knowledge of Ewe drumming, this fun piece is simply known as "the chicken dance". You'll know why when you see it!..."
-snip-
From http://en.wikipedia.org/wiki/Ewe_people
"The Ewe (Eʋeawó "Ewe people", Eʋedukɔ́ "Ewe nation"[1]) are a people located in southern Togo, southern Benin, and south-eastern parts of the Volta Region of Ghana."
-snip-
With regard to the Agbadza dance being called the "chicken dance", it should be noted that the 2006 African American dance "Chicken Noodle Soup" is based on the earlier Harlem Shake.

RELATED LINK
Click http://pancocojams.blogspot.com/2013/02/langston-hughes-note-on-commercial.html for a post about the Langston Hughes poem "Note On A Commerial Theatre" (also known as "You've Taken My Blues And Gone". That post also includes my critique of the Harlem Shake video craze.

ACKNOWLEDGEMENT AND THANKS
Thanks to the featured artists for their musical legacy. My thanks to all the vocalists, musicians, and dancers who performed in these featured videos. Thanks also to the commentaters who are quoted in this post and to the uploaders of these featured videos.

Thank you for visiting pancocojams.

Viewer comments are welcome.