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Showing posts with label ring shout. Show all posts
Showing posts with label ring shout. Show all posts

Thursday, April 11, 2024

African Muslims in Early America (2023 YouTube Video & Transcript And An Excerpt From A Related Wikipedia Page)


Emir-Stein Center, Jan 16, 2023  UNITED STATES

Islam has been part of the American religious fabric since the first colonial settlers arrived in North America, and African Muslims were an integral part of creating the United States, from mapping its borders to fighting against British rule.

In this video, Ayla Amon, scholar of Islam in the United States, offers a fascinating narrative of the history of African Muslims in early America. She tells the story of the amazing men, women, and children who tried to preserve their faith against all odds.

Ms Amon is a Curator of Social and Political History at the North Carolina Museum of History. You can read her biography at https://www.emir-stein.org/presenters....

For more information, read Ms Amon's "African Muslims in Early America" on the Smithsonian website:https://nmaahc.si.edu/explore/stories....

 ****
Edited by Azizi Powell

This pancocojams post showcases a 2023 YouTube video entitled "African Muslims in Early America".
YouTube's transcript of that video is also included in this post.

The Addendum of this pancocojams post presents an excerpt of the Wikipedia page entitled "African American Muslims In The United States".

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

All copyrights remain with their owners.

Thanks to 
Ayla Amon, Emir-Stein Center, and all those who are quoted in this video and all those who are quoted in this post.

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TRANSCRIPT OF "AFRICAN MUSLIMS IN EARLY AMERICA"

[The transcript of this video is given without time stamps and without the ending comments about subscribing to this YouTube channel.]

https://www.youtube.com/watch?v=OlDGdwiGzOw , published by Emir-Stein Center, Jan 16, 2023
Narrator- 
Ayla Amon

"Islam has been part of the American religious fabric. Since the first colonial settlers arrived in North America. And African Muslims were an integral part of creating the United States, from mapping its borders to fighting against British rule.

While we do not know exactly how many African Americans were enslaved and forcibly transported to the Western Atlantic world, scholars believe that roughly 10 to 15% of all enslaved Africans were Muslim and a much larger number would've been familiar with the religious and cultural practices of Islam due to the religion's spread throughout Western Africa.

Despite the fact that there are no concrete records of the number of Muslims, there are remnants of their presence in historical records dating back to the 16th century, and we can also see them in existing cultural and religious traditions today.

Although enslaved Africans were not brought to the modern United States for sale until the early 1600s, they were present on American shores around a century earlier.

Spanish colonialists brought enslaved Africans, including enslaved African Muslims, with them to Florida and the southern coast as early as 1513.

One of these men, Mustafa Azemmouri, called Estevanico was sold by the Portuguese into slavery in 1522.

While enslaved by Spanish conquistador Andrรฉs Dorantes de Carranza, Estevanico became one of the first Africans to set foot on the North American continent.

He explored Florida and the Gulf Coast, eventually traveling as far west as modern New Mexico.

In addition to exploration, enslaved African Muslims also helped militarily expand British American colonial frontiers.

During the French and Indian War, which pitted British America against New France, British Major-General Edward Braddock was defeated at Fort Duquesne in 1755.

The British retreated east and built a line of forts in modern Huntington County, Pennsylvania.  One called Fort Shirley was quickly abandoned, but not before a blacksmith could forge a small, circular charm featuring the phrase "No God but Allah" in Arabic.

This shows the presence of at least one Muslim man in the British military during the colonial period and hints at a larger community.

African Muslims also fought on both sides of the Revolutionary War.  Multiple men with Muslim names appear on the military muster rolls including the Patriots Bampett Muhamed, Yusuf Ben Ali also known as Joseph Benhaley, and Joseph Saba.

Other men listed on muster rolls have names that are likely connected to Islamic practice such as Salem Poor and Peter Salem whose names may reflect a form of the Arabic "salam" meaning peace.

These men often distinguish themselves on the battlefield.  They also attained high ranking positions such as Civil War Union Captain Moses Osman who is the highest ranking known Muslim in that conflict.

Despite significant obstacles, enslaved Muslims use their faith to build communities, resist their enslavement, and pursue their freedom.

They left numerous written accounts of their experiences in America in the form of letters, diaries, and autobiographies most of them in Arabic.

Omar Ibn Said penned an autobiography in 1831, the only known autobiography of an enslaved person in a native African language. They also wrote pages of Arabic for their enslavers and other members of white society like the American Colonization Society.

But instead of writing what the recipient's believed was a Bible verse or the Lord's Prayer, they wrote Quranic verses, made genealogical lists, and even pleaded to return home to Africa.

They also blended Islam and Christianity. For example, they combined the Basmala and Lord's prayer in documents and they inscribed Islam into Christian spaces such as etching "Surah Al-Nas" into a pew at the First African Church of Savannah. This final chapter of the Quran is meant as a protection, in this case symbolically used against their enslavers.

Enslaved Muslims also created objects to practice their faith. In the 1730s, Ayuba Suleiman Diallo wrote multiple copies of the Quran from memory for use in devotion and education. And the WPA Narratives, a series of interviews conducted in the 1930s and forties with formerly enslaved persons and their descendants, are filled with references to other important objects of religious practice, namely beads called Tesbih and prayer mats.

As Katie Brown, the great-granddaughter of Belali Mohomet who was enslaved on Sapelo Island, Georgia, recalls, quote,

"Belali and his wife, Phoebe, pray on the bead.  They bow to the sun and have a little mat to kneel on.

The bead is on a long string. Belali, he'd pull bead, and he say, 'Belambi hakabara muhamadu.'

Phoebe, she'd say, 'Ameen, ameen.'" End quote.

However, enslaved African Muslims also experienced open hostility and hardship when practicing their faith. Ayuba Suleiman Diallo was pelted with dirt by a white boy in Kent Island, Maryland, as he prayed.  Others were forced to wear sacrilegious clothing, abandoned dietary rules and religious fasting, or abstain from the required daily prayers.

An unnamed Moorish slave in Louisiana confirmed this hardship in 1822 when he quote
"lamented that his situation as a slave in America prevents him from obeying the dictates of his religion." End quote.

Nevertheless, they persevered and lived their faith. Some became pseudo-converts to Christianity in order to protect themselves and their families or secure their freedom.

Lamine Kebe pretended to convert to Christianity to secure passage back to Africa through the American Colonization Society in 1834. However, after returning to Africa, Kebe disappeared into Sierra Leone.  Surely, quote, "Still retaining his Mohammedan creed." End quote.

The Islam initially brought to America by enslaved Africans did not survive many generations, but it left traces in traditions that are still visible today.

The practice of ring shout, a form of religious dance in which men and women rotate counterclockwise while singing, clapping their hands, and shuffling their feet, (singing) may have been inherited from enslaved Muslims such as Belali Mohomet and Salih Belali in the Georgia Sea Islands.

The movement mimics the ritual circling of the Kaaba in Mecca by Muslim pilgrims called Tawaf, and the name "shout" may come from the Arabic "shawt" meaning a single run.

The WPA Narratives also contain reminisces of rice cakes called sarakah, which were handed out during rituals and feast days. From the Arabic word "sadaqah" or free will offering, this charity is an aspect of zakat, one of the pillars of Islam.

And early blue singers, like those recorded by ethnomusicologist Alan Lomax in "Levee Camp Holler," employed singing styles reminiscent of the adhan or call to prayer.

(singing)

They use sweeping and extended vocalizations to fill the words with intense emotions.

(singing)

Enslaved Muslims were brought to the United States with distinct cultural and religious beliefs, caught in the middle of complicated social and legal attitudes from the very moment they landed on America's Atlantic shores.

They succeeded in forming networks and communities and they maintained their religious identity despite overwhelming odds.

The material culture enslaved Muslims left behind, books, writings, clothing, beads, and rugs, and the traditions they cultivated help tell their stories today.

Islam has always been an important religion in America.

It's essential to develop a national conversation that fosters and augments our collective memory of these men, women, and children.

One that honors how the call to prayer has been sounding from sea to shining sea for more than 500 years.

(singing)

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ADDENDUM- EXCERPT FROM THE WIKIPEDIA PAGE "AFRICAN AMERICAN MUSLIMS IN THE UNITED STATES"
From https://en.wikipedia.org/wiki/African-American_Muslims
"
African-American Muslims, also colloquially known as Black Muslims, are an African American religious minority.[1] African American Muslims account for over 20% of American Muslims.[2] They represent one of the larger minority Muslim populations of the United States as there is no ethnic group that makes up the majority of American Muslims.[3] They are represented in Sunni and Shia denominations as well as smaller sects, such as the Nation of Islam. The history of African-American Muslims is related to African-American history in general, and goes back to the Revolutionary and Antebellum eras.[4]

History

Historically, an estimated 30% of slaves brought to the Americas from West/Central Africa were Muslims.[5] They were overwhelmingly literate in contrast to other slaves, and thus were given supervisory roles.[5] Most of these captives were forced into Christianity during the era of American slavery;[6] however, there are records of individuals such as Omar ibn Said practicing Islam for the rest of their lives in the United States.[6][7] During the twentieth century, some African Americans converted to Islam, mainly through the influence of black nationalist groups that preached with distinctive Islamic practices including the Moorish Science Temple of America, founded in 1913,[8] and the Nation of Islam, founded in the 1930s, which attracted at least 20,000 people by 1963.[9][10] Prominent members included activist Malcolm X and boxer Muhammad Ali.[11] Ahmadiyya Muslim groups also sought converts among African Americans in the 1920s and 1930s.[12]

Malcolm X is considered the first person to start the movement among African Americans towards mainstream Islam, after he left the Nation and made the pilgrimage to Mecca.[13] In 1975, Warith Deen Mohammed, the son of Elijah Muhammad took control of the Nation after his father's death and guided the majority of its members towards mainstream Sunni Islam.[14] However, a few members rejected these changes, leading Louis Farrakhan to revive the Nation of Islam in 1978 based largely on the ideals of its founder, Wallace Fard Muhammad.

Demographics

African-American Muslims constitute 20% of the total U.S. Muslim population.[16][17] Despite this, 3% of Black Americans are Muslim (most adhere to various sects of Christianity, particularly Protestantism).[18]

The majority are Sunni Muslims; a substantial proportion of these identify under the community of W. Deen Mohammed.[19][20] Cities with large concentration of African-American Muslims include Chicago, Detroit, New York City, Newark, Washington. D.C, Philadelphia, and Atlanta. The Nation of Islam led by Louis Farrakhan has a membership ranging from 20,000 to 50,000 members.[21]”…

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Visitor comments are welcome.

Tuesday, April 2, 2024

Counter-Clockwise Movements In Jamaican Revival Band Services And In African American Ring Shout & Easter Rock Services


Kaiona Royal Ministry, Mar 20, 2024

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Edited by Azizi Powell

Latest update - April 4, 2024

This pancocojams post showcases four videos from Jamaica and four videos from the United States that document people moving counter-clockwise during their religious services.

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

All copyrights remain with their owners.

Thanks to all those who are featured in these videos and thanks to the producers and publishers of these videos on YouTube.
-snip-
This post is part of an ongoing pancocojams series on African cosmology, and particularly Bakongo cosmology and counterclockwise movement in African Diaspora cultures, especially African Diaspora dance.

Click https://pancocojams.blogspot.com/2013/05/african-american-ring-shouts-origins.html for a 2013 pancocojams post entitled "African American Ring Shouts (Origins & Video Examples)".

That post includes information about the Kongo Cosmogram, information & videos of about ring shouts. 
 

Click the "counter-clockwise dance traditions" tag below for more pancocojams posts in this series.

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THE SIGNIFICANCE OF MOVING COUNTER-CLOCKWISE
Excerpt #1
From https://www.merriam-webster.com/dictionary/counterclockwise

"counterclockwise

adverb

: in a direction opposite to that in which the hands of a clock rotate as viewed from in front"

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Excerpt #2
From https://www.quora.com/What-is-the-magickal-significance-in-spells-rituals-and-prayers-of-clockwise-vs-counterclockwise-Is-it-the-same-in-both-hemispheres 

[Numbers added for referencing purposes only.]

1. Assistant Bot, Nov 29, 2023
"In many magical traditions, the direction in which energy moves is significant. Clockwise motion is often associated with invoking, building, and creating energy, while counterclockwise motion is associated with banishing, releasing, and dispersing energy. These associations are often used in spells, rituals, and prayers to align the practitioner's intentions with the movement of energy.

As for the hemispheres, magical practices can vary between cultures and traditions, so the significance of clockwise vs counterclockwise motion may differ based on specific belief systems. However, the general concept of invoking and banishing energy tends to be consistent across different magical traditions.

It's important to note that the interpretation of these movements can vary, and practitioners may have different perspectives on their significance. Additionally, individual beliefs and personal practices can also influence the interpretation of directional movements in magic."

**
2. 
Monte Plaisance, 2020
Practitioner, Author and Purveyor of all things Occult, 2020
"When moving in a clockwise direction, one moves in-line with the physical world (sunwise) and thus by mimicking the motion of the sun you move towards enlightenment. By moving in a counter-clockwise motion you move against the tide of light and physicality and evoke energies of the otherworldly. For myself, I circle and motion clockwise for rituals of light and the opposite for rituals of darkness. The symbolism is clear.

In the Southern Hemisphere the magnetic cycles are opposite from the north, but the sun still rises in the east and sets in the west, so the motions should remain the same."

**
3. John Cryan
Research Biologist/immunologist/molecular Biology (1979–present), 2020
" "Clockwise" in magical is classically associated with the direction of the sun, beginning in the east (3:00) and moving west (to 9:00) and then continuing around to reach east again. This is the same in both hemispheres.

Moving deosil (clockwise) is often associated with invoking and binding, while moving widdershins (counterclockwise) is associated with banishing and in binding).

**
4. Richard McGinnis
 Wiccan high priest, 2020
"The vast majority of circles used in magick ceremonies are cast clockwise. This is also called sunwise or Deosil.

Almost all exceptions to that custom involve drawing circles that involve banishment of evil influences.

****
Excerpt #4
From https://www.embodiedphilosophy.com/at-a-planetary-crossroads-contemplative-wisdom-of-black-geographies/ At a Planetary Crossroads: Contemplative Wisdom of Black Geographies" by Naya Jones, Posted on April 16, 2021

….”The Cosmogram in Use 

In African Traditional Religions, especially as they exist in the diaspora, anti-clockwise circular movement has high significations and relevance to drawing down spirits. In many places, walking the dikenga is practiced today as a way of opening ritual, meditation and connecting to God.“…

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DISCLAIMER
These examples don't mean that these are the only past or current examples of counter-clockwise religious movements in Jamaican or in the United States.

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EXAMPLES FROM JAMAICA
These videos are given in no particular order and are numbered for referencing purposes only,

SHOWCASE VIDEO #1
This video is embedded at the top of this post. 

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SHOWCASE VIDEO #2 - Revival Bands in Watt Town, St. Ann, Jamaica


It Is So, Feb 24, 2010

First quarter in March, various  Revival groups ('bands') visit Watt Town for a holy and spiritual convocation.  This video features some of the headress styles...called trubans.

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SHOWCASE VIDEO #3 -Drilling On Watt Town Seal Ground



It Is So, Feb 24, 2010

Bands drilling on Watt Town church's seal.  The clip features the feet movement.  This took place in Watt Town, St. Ann, Jamaica

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SHOWCASE VIDEO #4 -  Zion Sweet Bad Enuh๐Ÿ’❤️๐Ÿ’š๐Ÿ’›๐Ÿ™‼️When We All Come Together As One And Lift Up The Name Of Jesus ๐Ÿ™
 

Kaiona Royal Ministry, Mar 22, 2024

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EXAMPLES FROM THE UNITED STATES

These videos are given in no particular order and are numbered for referencing purposes only,

SHOWCASE VIDEO #1 - Dance 111 - Ring Shout


Bob Boross -My Jazz and Tap Dance Life, Jan 25, 2023

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SHOWCASE VIDEO #2 - McIntosh County Shouters "Jubilee"


Africana Digital Ethnography Project, June 27, 2023 

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SHOWCASE VIDEO #3 - Easter Rock Ceremony 2013



64 Parishes,  Mar 16, 2015

A video of an Easter Rock ceremony in Winnsboro, 2013.

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SHOWCASE VIDEO #3 - Winnsboro Easter Rock Part 2

 

dooney05, Apr 8, 2012

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Visitor comments are welcome.



Wednesday, March 22, 2023

Three YouTube Videos Of African American Primitive Baptist Churches Singing, Hand Clapping, And Ring Shout-Like Movements


mtcalverypb, Mar 9, 2010

The Mount Calvary Primitive Baptist Association October 2009 which was held at Pleasant Grove Primitive Baptist Church. Our Next Session will be held at County Line Primitive Baptist Church on HWY 212 in Milledgeville, GA beginning Friday before the 1st Sunday in October 2010.

Moderator: Elder Tony Goggins

Clerk: Deacon Adolphus Williams
-snip-
This song is called "You better Run To The City Of Refuge". Click https://www.elyrics.net/read/d/dr.-cJ-johnson-lyrics/you-better-run-lyrics.html for the lyrics of a Black Gospel version of that song as sung by Dr, CJ Johnson. . 

****
Edited by Azizi Powell

Latest revision- March 23, 2023

This pancocojams post is part of an ongoing pancocojams series on Old School Black Gospel Music.

This post provides some information about the Primitive Baptist (Christian denomination as well as some information and comments about African American Primitive Baptist churches singing, hand clapping, foot stomping, and ring shout-like worship traditions.

This post also showcases three YouTube video of an African American Primitive Baptist Church congregation in Georgia (United States) singing four old Gospel songs.

In addition, some comments from several YouTube discussion threads for videos showcasing this worship tradition are also included in this post.

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

All copyrights remain with their owners.

Thanks to the unknown composers of the two songs that are featured in this embedded video and other songs that were/are sung by African American Primitive Baptist Church members.

Thanks also to all those who are quoted in this post and thanks to the publishers of these video on YouTube.
 -snip-
Click http://pancocojams.blogspot.com/2013/05/african-american-ring-shouts-origins for a pancocojams post to compare this African American Primitive Baptist Church tradition with ring shouts.
 
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SHOWCASE VIDEO #2- Look Where He Brought Me From

KATHY PHELPS, Apr 28, 2011 Easter Sunday 2011 Mt. Carmel Primitive Baptist Church, Ideal, GA -snip- Notice how the members of the congregation sometimes rock around the table in the center of the front of the church.

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SHOWCASE VIDEO #3-WALKING IN JERUSALEM JUST LIKE JOHN

KATHY PHELPS, Nov 7, 2011

Mt. Ramah Primitive Baptist Association 2011 Thomaston, GA

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INFORMATION ABOUT PRIMITIVE BAPTIST CHURCHES
From https://en.wikipedia.org/wiki/Primitive_Baptists
"Primitive Baptists – also known as Hard Shell Baptists, Foot Washing Baptists or Old School Baptists – are conservative Baptists adhering to a degree of Calvinist beliefs who coalesced out of the controversy among Baptists in the early 19th century over the appropriateness of mission boards, tract societies, and temperance societies.[2][3] Primitive Baptists are a subset of the Calvinistic Baptist tradition.[1] The adjective "primitive" in the name is used in the sense of "original".[2]

History

The controversy over whether churches or their members should participate in mission boards, Bible tract societies, and temperance societies led the Primitive Baptists to separate from other general Baptist groups that supported such organizations, and to make declarations of opposition to such organizations in articles like the Kehukee Association Declaration of 1827.[3][4] The Kehukee Primitive Baptist Church released a proclamation that they rejected formal service institutions outside of the church…

[…]

Primitive Baptist churches arose in the mountainous regions of the American South, where they are found in their greatest numbers.[9][10]

African-American Primitive Baptist groups have been considered a unique category of Primitive Baptist. Approximately 50,000 African Americans are affiliated with African-American Primitive Baptist churches as of 2005.[11] Approximately 64,000 people were affiliated (as of 1995) with Primitive Baptist churches in the various other emergences of Primitive Baptists.[11]

Since arising in the 19th century, the influence of Primitive Baptists has waned as "Missionary Baptists became the mainstream".[4]

[…]

Distinct practices

Primitive Baptist practices that are distinguishable from those of other Baptists include a cappella singing, family integrated worship, and foot washing.

A cappella singing

Primitive Baptists generally do not play musical instruments as part of their worship services.[15] They believe that all church music should be a cappella because there is no New Testament command to play instruments, but only to sing.[14] Further, they connect musical instruments in the Old Testament with "many forms and customs, many types and shadows, many priests with priestly robes, many sacrifices, festivals, tithings" that they see as having been abolished; "had they been needed in the church Christ would have brought them over".[14]

African-American Primitive Baptists may not share the general Primitive Baptist opposition to musical instruments, however.[16]”…
-snip-
There are a few YouTube videos of American Primitive Baptist churches whose congregations are White Americans. 

"Rocking" (around a table in the front of the church or standing in place at the front of the church isn't a worship style in these churches. These congregations' 
song choices also appear to be different and their style of singing is different

Click https://www.youtube.com/watch?v=LiIZ0kgn588 Old Harp Singing, Cades Cove Primitive Baptist Church, published by GreatSmokyMountains, August 20, 2013  and https://www.youtube.com/watch?v=t_lYxMdYt84 10,000 Reasons (Primitive Baptist Singing), published by Vestavia Primitive Baptist Church, Jan 4, 2018 for two examples of YouTube videos of White American Primitive Baptist churches. 

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INFORMATION ABOUT (AFRICAN AMERICAN) PRIMITIVE BAPTIST "ROCKING" TRADITIONS

DISCLAIMER:
I'm not a member of a Primitive Baptist church and I have never attended any Primitive Baptist church. All of the information in this pancocojams post has been gleaned from online sources. Additions and corrections are very welcome.

"Rocking" and "Macon Rock" are terms that have been used to describe the way that African American Primitive Baptist congregations used to* sway from side to side while they sing their old Gospel songs. 

These old Gospel songs date from the late 19th century or the early 20th century. These Gospels songs which are also called "Jubilees" were/are sung a Capella without any musical instruments (including no tambourines), no microphones, and no choirs or separate praise and worship groups.*  

These three videos document some of the African American Primitive Baptist's tradition of singing congregational call & response songs without any musical instrument accompaniment. 

By "congregational call and response" I mean that those songs are started spontaneously and are sung by the entire congregation with more than one leader/caller.)  In these videos, while singing these songs a number of members of the congregation move in a circle in a ring shout -like manner at the front of the church. As shown in the video that is given as Example #2 in this post, sometimes these church members circle a table with a white cloth that is placed in the center of the front of the church. These men and women walk single file, singing, stomping their feet, and clapping their hands in 2 & 4 pattern, or clapping their church fan into the palm of their hands. This walk includes a slight dip to the song's beat.  

Alternatively, a number of members of these congregations may "rock" (sway from side to side) while standing in place while singing these songs. This stand in place worship tradition may have started some years after the first tradition that is described above, perhaps replacing the ring-shout like movements because of the lack of space at the front of the church's altar.

The members of the church who participate in the stand in place rocking style of praise and worship also clap their hands in 2 & 4 and/or double clap patterns and stomp their feet to the 2 & 4 beat to produce a bass like sound.

*I don't know if any African American Primitive Baptist churches still worship the way that is shown in these two embedded YouTube videos. More recent YouTube videos that I have watched of African American Primitive Baptist churches show those churches having a choir, electronic microphones, and musical instruments (snare drums, piano, and electric guitars). Those contemporary videos also don't show members of those congregations doing the ring shout-like "rocking" at the front of the altar. Furthermore, the songs in the videos of contemporary African American Primitive Baptist churches aren't examples of old school call & response songs.    

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SELECTED COMMENTS ABOUT AFRICAN AMERICAN PRIMITIVE BAPTIST SINGING, HAND CLAPPING, AND ROCKING (SWAYING FROM SIDE TO SIDE OR MOVING IN A CIRCLE IN FRONT OF THE ALTAR WHILE SINGING OLD GOSPEL SONGS

These comments are given in no particular order. Numbers are added for referencing purposes only.

Discussion thread #1
From https://www.youtube.com/watch?v=yCUd19FgZFs "We Will Wait Til Jesus Comes". published by Kathy Phelps, Nov 7, 2011

Mt. Ramah Primitive Baptist Association 2011 Thomaston, GA

1. Antuane Perkins, 2014
"My God My God! This is the type singing that I love! You sit there for as long as you can and you get so Spiritually full that you have to stand up and let the spirit work on you."

**
2. Karen G., 2015
"every time I watch this video I love it more and more! y'all better SANG! Praise your HOLY NAME LORD"
-snip-
"Sang" is an African American Vernacular English present tense form of the word "sing" which means "to sing very well, especially to sing soulfully very well". "Sang" or "Sangin' can be a verb. "Sang!" can also be an exhortation.

**
3. Connie Kent, 2016
"I am a Holy Ghost filled born again Christian but I am truly ignorant to this style of worship... can anyone tell me more about this?"

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Reply
4. kamaliyah, 2016
"praise and worship."

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Reply
5. K J, 2016
"this is how our parents on the slave plantations sung and worshipped in the fields gathered around in a circle by the water, fast forward to now what you see here"

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6. Matt S, 2022
"Sing your heart out and let the holy ghost fill you till you eneter extacy. The only one judging is god, no matter how you sing it just makes god happy that you sing his name. <3"

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7.  mary oyewole, 2016
"I remember this from a child in the primitive baptist church. please keep these recordings alive."

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8. Shay Barnes, 2018
"Hand clapping, feet stomping church! My kind of carrying on!!"

**
9.. Ellijah Raines, 2018
"Yes Lord!! Churches has gotten away from this!"

**
10. John Nightshade, 2019
"Reminds me of my grandfather's congregation in Kentucky when I was little boy.  People shouting and old folks swaying back and forth while the Holy Spirit moved through the building.  I miss those days when church was church,  farmers came in from the fields to give thanks to the Lord while the older ladies were cooking and singing in the back."

**
11. Linda Bowens, 2020
"Would love to be in the circle praising God right along with them. This is what ya call having a good time, you didn't worry about getting out of service because you wanted to stay in the service. They take their time in worshipping. If we as nation do this, I truly believe things will change for us. Worship and having faith ๐Ÿ™๐Ÿผ❣️"

**
12.  Miss SoftnSensual, 2022
"Reminds me of the old days at church with my great aunts. Foot stomping, clapping, and sanging along with the deacon's and mother's of the church during devotion.๐Ÿ™Œ๐Ÿพ๐Ÿ™Œ๐Ÿพ๐Ÿ™Œ๐Ÿพ๐Ÿ™Œ๐Ÿพ"

**
13. nghtwtchr9, 2023
"A lot of contemporary gospel sounds good and has a positive message, but something about the old school gospel that is truly anointed and uplifting no matter when you hear it today, tomorrow or even years later."

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Discussion thread #2
From https://www.youtube.com/watch?v=mKBhKHxBMQo

1. Chandra Carter, 2017
"I love this! Rocking without music just hand clapping and foot stomping and GOD"

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Discussion thread #3
From https://www.youtube.com/watch?v=qcTu0njFdfc "My Soul Is A Witness For My Lord", published by Kathy Phelps, Nov 7, 2011

Mt. Ramah Primitive Baptist Association 2011 Thomaston, GA

1. Milton Kelly, 2012
"I love this! You can tell the spirit of the HolyGhost was with them. The best part was that they didn't have no instrument at all."

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2 .june briggs, 2013
"All primitive baptist rock up front of the church circling the table, just something we do!"

**
3. Ashley Bailey-Harrell, 2013
"This is what I grew up on as a child. My grandmother and all my family attended Mt Moriah Primitive (HardShell) Baptist St. Petersburg Florida. They would have prayer meeting at her house and "rock" all night long!..Mattie, Lucille, Camilla, Hattie, Annie, Georgia..I know y'all rocking right now!..My grandmother favorite song was "I'm a solider"..Elder Snead sung it at her funeral way back in 1987.  Keep posting this is good!"

**
4. James Williams, 2013
"Takes me back to Waynesboro, Ga. to Third Chapel MBC when my Great-grandmother used to sing in the choir!!! Man those was the days when it was chuch (Not church)........Chuch!!!!! Amen and Amen!!! We serve and AWESOME GOD!!!!"

**
Reply
5. k. 2021
"This is no Choir, no Drums, no Organ, No Piano, no Tamberine, just pure hands voice and feet. WHO said your church can't have CHURCH without Instruments. Tha Devil is a liar. This is the best church service I've seen yet,,,I been with Primitive Baptist 19 years, Baptist 3 and Holiness 12,,, but I want the pure church service,,,DO Anyone watching see Any Competition, Too loud, Rolling eyes, Mic Hungry, Music too loud, And more NOPE. All in one place on one accord. That's why that generation LIVED long"

**
6. Smoochz1, 2014
"Love the primintiive baptist, no more here in Columbus Ohio, but my parents belong to Prospect In Buena Vista Georgia grew up praising God just like this. " 

**
Reply
7. Gregory Thornton, 2018
"Smoochz1 I am from Ellaville, GA live in Memphis,  TN now can't get this here"

**
8.  BlkRose, 2014
"Good ole Primitive Baptist church singing ,stumping, and rocking"

**
9. Shirletha Anderson, 2015
"I Love this song reminds me of  down home  singing  in S. C."

**
Reply
10. Brent James, 2019
"South Carolina Yes Lord"

**
11. mookkers decausey, 2016
"thats old school praising  lol  we didnt have a organ or durmmm  or a bass we had hands and feet and a voice and a memory

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12. Rox Smith, 2016
"I love to watch Deacon Phelps do his holy rock!"

**
13.  Mz Hollywood, 2018
"Thank you so much. I grew up in the primitive Baptist Church. But when I hear them sing the songs now some of them singing different. I am glad you shared the words I wish more people will respond when people ask for the words. There is nothing like the old Primitive Baptist Church singing. Both of my parents are members of the New Prospect Primitive Baptist Church Pineville Buena Vista Georgia."

**
14.  caldonia lewis, 2019
"There's a meaning in every old school song, why churches don't sing these songs anymore. I love old school songs. My soul is a witness for my Lord, HALLEUJAH ! Thank you Jesus. Sing saints of The Most High God sing!๐Ÿ™๐Ÿพ๐Ÿ˜✝๐ŸŒน๐Ÿ‘ผ๐Ÿฝ๐Ÿ’ฏ"

**
15. Dee Harrison, 2019
"I pray that one day we can go back to these old ways. They understood the power of The Most High, they knew where to put their trust, love, dependency come he'll or high waters. To submit to The Lord in spirit and in truth.  My heart aches to go back to the old landmark where we stayed in The Presence of The Lord๐Ÿ™Œ๐Ÿพ๐Ÿ™Œ๐Ÿพ๐Ÿ™Œ๐Ÿพ"
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"The Old Landmark" is a title of an old school Gospel song. I believe that it also can refer to these types of old school African American Gospel songs.

**
16. Jeffery Hall, Jr,, 2020
"๐Ÿ—ฃTHIS HAS BROUGHT BACK MEMORIES OF MY GRANNY!!! She would sing a verse of this song over and over when I was a kid and I still remember!!!! ๐Ÿ˜"

**
17. Linda Bowens, 2020
"Back then there was no rushing, you would let The Holy Spirit have It's way, taking full control of the atmosphere. Didn't get tired of sanging the same verses over and over again, they just got better and better. Everybody was on one accord  got better and better. Everybody was on one accord."

**
18. Jaye Johnson, 2020
"I grew up Baptist in the North and never heard of Primitive Baptist but I love it❤️"

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Discussion thread #4
From https://www.youtube.com/watch?v=NMuEWqraMTw "Elder Nathan Rolle--This May Be My Last  Time", published by Kathy Phelps, Nov 11, 2010

1. Lillie Fuse Williams, 2015
"Sometime it's good to back home.  Cause it may be the last time.  The circle and rock could be a way of being in the number and become a part of the praise. As today's waving . A church back  then could ROCK!"

**
Reply
2. 
TD B, 2022
"Yes, the macon rock as my mom calls it. She's from macon. Ga"

**
3. Aunt Yo, 2015
"Anyone know why they circle in the front?"

**
Reply
4. Elder Maxwell Cotton, 2015
"they go around in a circle rocking"

**
Reply
5. PatsBooks, 2016
"It's the ring shout."

**
Reply
6. mssmmns, 2019
"This form of praise in a circle is prevalent in many West African, Caribbean, and South Carolina Gullah religious ceremonies. This our roots, sis!"

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7. Ann Jones, 2019
"An old Deacon used to sing this at my Grandmother’s Church , I sure miss this kind of Service"

**
8. Chris Beatty, 2019
"We use to sing this in church when I was younger. I haven’t heard it in a while unless one of the older members, or preacher, starts to sings it. I was raised in in the Baptist way that we had musical instruments for the accompaniment, but this church is rocking it too. We get into it too because it may be our last time...we just don’t know it."

**
9. Lorenzo Moore, 2020
"My old overseer used to sing this. She was from SC."

**
Reply
10. Martin Smith,2020
"Well South Carolina is where much of the African part of us still remains due to the Gullah Geechee people. This song and the “ring shout” like movement makes me think they’re part of the reason this movement/style has been somewhat preserved and your overseer probably grew on this and it’s something that’s familiar for him or her"

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Discussion thread #5
From https://www.youtube.com/watch?v=zGnjpkUlZDY&t=37s "Walking In Jerusalem Just Like John", published by Kathy Phelps, Nov. 7, 2011

Mt. Ramah Primitive Baptist Association 2011 Thomaston, GA

1. K. J. Vibes, 2015
"Grew up Primitive Baptist. This takes me back.  No instruments needed; just hands, voices, and feet to praise God."

**
2. donald frierson,2017
"This reminds me of growing up in Green view First Baptist Church when an elderly man or woman would get up singing and the church just falls in behind.  This is straight from Africa here.  Of course, we are to modern now and many churches don't have signing like this."

**
3. Bruce Dexter,2022
"Hi. There are many different varieties of Primitive Baptists. In urban areas where I grew up my cousins were PB..National Primitive Baptist Convention USA and they Did use musical instruments,  had many Choirs and usually were the top members of Choir Unions. What differentiated them from Missionary Baptists was their Foot Washing at The Lord's Supper. They had tons of a capella Hymn lining and singing but also Gospel Singing with instruments. There really is nothing wrong with that. The 150th Psalm is all about Praise giving God All including with cymbals,  string instruments..All..so it is Biblically okay to do so . We can choose not to as well and that is to be respected but the Primitive Baptists on my family choose to use it all. I am a musician and if God Blessed me with a talent how can I reject it?"

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Thursday, December 2, 2021

The "Big Apple" Jazz Dance (information and two late 1930s film clips)



Vintage Swing Dance, June 14, 2015

From the movie: KEEP PUNCHING 1939 The Big Apple contest featuring Whitey's Lindy Hoppers.
**** Edited by Azizi Powell

This pancocojams post presents information about the "Big Apple".

This post also showcases two historical film clips of the "Big Apple" from the late 1930s (United
States).

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

All copyrights remain with their owners.

Thanks to the unknown creators of this dance. Thanks also to the film makers,  all those who are featured in these film clips, and the publisher of these film clips on YouTube.  Thanks also to all those who are quoted in this post. 

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SHOWCASE FILM CLIP #2: DANCING THE BIG APPLE:1937: African-Americans ignite a National Craze


DancetimePublication, Jul 27, 2010

….This innovative documentary, DANCING THE BIG APPLE 1937: African Americans Inspire a National Craze, explores the Big Apple dance in the context of American history.

Movie: Dancing the Big Apple 1937

****
INFORMATION ABOUT AND DESCRIPTIONS OF THE "BIG APPLE"
Excerpt #1
From https://www.streetswing.com/histmain/z3bigapl.htm
"The Big Apple is a group participation circle dance that uses swing dance for a host of steps. The Big Apple has some roots in the Ring Shout and Square Dance as well. Sometimes a solo or couple would perform in the center of the circle (like today's modern jams) as the rest of the dancers would dance in a circle around them.

Most people think of New York when they hear the name, but the Big Apple actually originated at the "Big Apple Night Club" in the Palmetto state of Columbia, South Carolina around 1936.

 The night club was actually a abandoned African-American church (originally the 'House of Peace Synagogue') converted into a nightclub. The club used a "Nickelodeon" for its music and had a balcony around the floor where dancers stood and watched. It's rumored that dancers got so excited one night that the Balcony collapsed!. The University of South Carolina students expanded it's popularity all the way to New York.

The Big Apple spread all over the states and soon the smaller taverns and dance halls were posting apologetic signs: "Sorry, No Big Apple. Not enough room". Some ballrooms who had balconies or dance floors on the second story collapsed due to the weight of the people doing the Big Apple. Many people where hurt in the collapse and some establishments refused to allow people to do the Big Apple due to insurance reasons and fear that someone might get hurt.

This dance is cued by a caller, dancers performed moves from the Lindy Hop, Shag, and Charleston, and popular jazz steps like Trucking and Pecking. Some of the names of steps were called "Spank The Baby, Praise Allah, Rusty Dusty, Charleston, Suzy-Q, Pose & A Peck, Boogie Back, Shorty George, Truckin, The Little Apple., The Little Peach"-- (Little Peach-Invented by Collage Kids in So. Carolina) and more, were all swing type fad dances of the time, these Fad or Novelty dances lasted only a couple years. Over time most of these steps have resurfaced as the same dance or a variation of the dance.

"Swing As Away Of Life" states : (book) 'The Big Apple started when the band leader (or any dancer) cried out, "Cut The Apple!" and dancers formed circles of 8 to 10 people each. At the callers cry of " Come on and swing," the dancers would break into the Charleston swing (Lindy Hop), a more violent version of the previous decades Charleston. Each dancer would step forward on his left foot and kick the right foot up, then step back on the right foot to the rear. Soon the whole circle would be a flurry of flying feet and counter-flying arms and elbows. When the caller yelled "Truck To the Right!", each dancer would face right, raise the admonitory index finger, step forward and pivot .. etc .' ...

 "Down Memory Lane" states : (book) " The Big Apple was a group participation dance that included all the earlier swing steps and required a caller. The dance started off with a march; as the couples formed into a ring, the caller would shout "Shine" and ask for one of the swing steps listed above. A single couple would take the initiative, step into the center of the ring, and perform the Jive gyrations. During the "Shine" episode the on-looking dancers remain in the circle, clapping hands, beating time, and shouting and catcalling in loud enthusiasm."... **** Excerpt #2 From https://en.wikipedia.org/wiki/Big_Apple_(dance) "The Big Apple is both a partner dance and a circle dance that originated in the Afro-American community of the United States in the beginning of the 20th century.

History

Origin (1860–1936)

The exact origin of the Big Apple is unclear but one author suggests that the dance originated from the "ring shout", a group dance associated with religious observances that was founded before 1860 by African Americans on plantations in South Carolina and Georgia.[1] The ring shout is described as a dance with "counterclockwise circling and high arm gestures" that resembled the Big Apple."

[...]

The dance that eventually became known as the Big Apple is speculated to have been created in the early 1930s by African-American youth dancing at the Big Apple Club, which was at the former House of Peace Synagogue on Park Street in Columbia, South Carolina.[3] The synagogue was converted into a black juke joint called the "Big Apple Night Club".[2][3][4][5][6]

[...] Related dances

The Big Apple has many commonalities with Afro-American vernacular partner dances of the early part of the century through the 1930s and '40s. Dances such as the CakewalkBlack BottomCharleston, and Lindy Hop share both similar elements and a common underlying improvisational spirit.

Moves

The moves are frequently used in Lindy Hop. This is also used as a warm up before Lindy Hop classes. Note that the moves are very 8-count centered, like tap dance. That is, they almost all start on count 8.

Susie Q Right: Both feet are placed together facing the center of the circle. Left hand clasps the right (think "synergy"), both heels scoot to the right, then both toes 4 slow, 8 quick. Typically "reverse" is then called and you go back the other way. 8 counts each way.

Susie Q left: this is the 'Susie Q' that most Lindy Hoppers know. Left foot starts over right hand should be 90 degrees (like a forklift), palms down, wrists may pull hands up arms swing left to right. Twist left heel while right foot steps out and to the left, repeat. "reverse" goes the other way. Same timing as Susie Q right (slow, slow, slow, slow, quick, quick, quick, quick, quick, quick, quick, quick).

Apple Jacks: With feet close together take tiny steps in place. When stepping with the right foot, let the right knee cross in front of the left knee, twisting hips to the left. With upper body bend down, with fingers pointed at the floor, twisting shoulders opposite hips. On the next step reverse the direction of knees, hips, shoulders. Each step is one count.

Break a Leg:

Break Step:

London Bridge:

Shout: Open arms wide.

Swivels: Swivels while walking.

Spank the Baby: Step out with left foot, bring right foot together, meanwhile raising the left arm in the air and making a spanking motion toward one's own behind with the right hand. Spank the baby is done while walking in a circle (not around the circle).

Tick Tock: Put heels together with weight on the back of one foot and the front of the other, then shift toes together and the heels apart and alternate the weight on the feet and repeat the actions to create a sideways travelling motion while at the same time the forearms move in front of the torso then out to the sides in time with the shifting of the feet.

Truckin: Truckin is a shuffle step variation popularized after the vaudeville era. The right hand is held up (as in a right turn signal) with the index finger extended and wagging. In Harlem Truckin the shoulder is set back. Feet are parallel at all times. With both feet together and facing slight left the right foot scoopes down and brushes the floor, the left foot is then gathered at the right ankle and the right heel twists (this should cause forward movement as the foot scoopes past the other foot). The action is repeated creating a "hearts in the snow" effect from the overlapping steps. At the same time the left hand is placed over the stomach (like a waiter holding a towel) and never really moves. The stomach twistes with the feet therefore, the "stomach rubs the hand". If truckin is being done around a circle the outside hand is always up.

Pose and Peck: Put hands on hips, and do pecking with head.

Scarecrow: First 4 counts are Charleston basic.

Second 4 counts, put upper arms straight out to side, and let forearms dangle loosely, and tilt head to side. Often the feet are slightly apart, with the knees drooping together.

Shorty George: Named for George Snowden. Walk a straight line using very small steps. Keep upper body upright while dramatically bending knees. With each step, let the opposite knee push toward the back of the knee of the leading foot, causing both knees to shift right when stepping with right foot and shift left when stepping with left foot.

Shoulders alternate, pushing down toward the leading foot, so that when the knees are pushed to the right, the right shoulder sinks downward and the left shoulder becomes raised. Each step is one count.

Little Peach: Touch the side of your nose twice, once with your left hand and once with your right.

Hitch Hike:

Boogie Back: Lean forward and bend knees. Clap hands on the even counts and hop backwards on the odd counts.

Boogie Forward: Straighten up and throw hands in the air. Each step starts from forward roll the hip, which then moves to the side and settles back as the step with the other foot begins. Each step is two counts.

Praises: The traditional ending the big apple.

Everyone runs to the center of the circle and shouts "Hallelujah" while throwing hands in the air from a bent over posture. It may also be called just "Hallelujah".

Rusty Dusty: Hold pant legs up and shake the dust out of them.

Charleston: See solo Charleston moves. This move is actually called "Big apple swing".

Fall Off the Log: Kick right leg to the side, then step behind with your right foot, out with your left foot, and in place with your right foot. Repeat this on the left side.

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Sunday, September 20, 2020

Information About The Cake Walk (with a 1903 Library Of Congress film clip & a reprint from streetswing.com)



Library of Congress, July 10, 2009

SUMMARY Five African Americans--three men and two women--perform a cakewalk, a dance featuring fancy strutting that was named after the prize awarded in the original contests. The dancers wear rather formal attire, with the men in dark suits and black tie and the women in full-length, high-collared dark dresses; one woman carries a small American flag. As they step in place against a light background, the center male--holding up a top hat and twirling a cane--moves toward the camera and briefly performs some fancy steps. As he moves back, the man at the left end of the line does a quick twirling step and links arms with his partner. The other two dancers also pair off as the center male leads them in a strutting movement around the stage. When they return to the original line, all five step towards the camera with the center man slightly ahead of the others. The film ends just as they stop the cakewalk. CREATED/PUBLISHED United States: American Mutoscope and Biograph Company, 1903. NOTES Copyright: American Mutoscope & Biograph Co.; 11May1903; H31674. Filmed at the Biograph New York City studio, perhaps on the roof. SUBJECTS Dance, Black--United States. Afro-American dance--United States. Dancers--New York (State)--New York. **** Edited by Azizi Powell

This pancocojams post presents information about the cakewalk dance in the United States and showcases a 1903 film clip of African American couples performing that dance.

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

All copyrights remain with their owners.

Thanks to the unknown creators of the cakewalk dance, and thanks to all those who are featured in this film clip and all those who are quoted in this post. Thanks also to the Library of Congress for publishing this film on YouTube.
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This post is part of an ongoing pancocojams series on African American dances. Click the tags below for additional pancocojams posts in this series. 

Click https://pancocojams.blogspot.com/2012/02/cakewalk-grand-march-usa-canada.html for a 2012 pancocojams post on this subject entitled "
The Cakewalk & The Grand March - The USA & Canada". That post is Part I of a series on The Cakewalk and The Grand March. (The Cakewalk began as an African American parody of The Grand March and other formal European dances).

****
INFORMATION ABOUT THE CAKEWALK (DANCE) IN THE UNITED STATES
Pancocojams Editor's Note: I'm reprinting this information as it is given by streetswing.com because that article provides a concise but detailed history of The Cakewalk. However, please read the notes indicated by asterisks about the two offensive terms that are included in this writeup. 

From http://www.streetswing.com/histmain/z3cake1.htm
"Origins: The Chalk Line Walk as it was originally known in 1850 in the southern plantations later became very popular from 1895-1905 as the Cakewalk with a resurgence around 1915. It origins are in Florida by the African-American slaves who got the basic idea from the Seminole Indians (couples walking solemnly). Many of the special movements of the cake-walk, the bending back of the body, and the dropping of the hands at the wrists, amongst others, were a distinct feature in certain tribes of the African Kaffir* dances. The African Ring Shout has a certain tie to this dance as well (see Ring Shout.)

These "Walkers" as they were called, would walk a straight line and balance buckets of water on their heads. Over time the dance evolved into a exaggerated parody of the white, upper class ballroom dancers who would imitate the mannerisms

(namely the promenades and processionals) of the "Big House" (or masters house) that they observed the White's doing. These Slave's would have some fun with such a dignified walking, flirting, prancing, strutting, bowing low, waving canes, doffing hats, done in a high kicking grand promenade. The Master's and their guest found it amusing, while a few plantation owners frowned upon these shenanigans. For their 'Sunday entertainment', the plantation owners started having contests to prove to the other who had the best slave walker which would give the evolution of the Cake being given as a prize..

The idea of the Cakewalk was that of a couple promenading in a dignified manner, high stepping and kicking, mimicking whitey's high society. Some of the better plantation owners would bake a special cake called a hoecake wrapped in cabbage leaf and on Sundays and invite the neighbors over and have a contest of the slaves, different prizes were given but originally it was a Hoecake for the males and molasses pulled candy for the ladies and whichever slave(s) won, would get the cake / Candy ... thus varying terms such as "That Takes The Cake!" (Plus others such as 'It's a Cakewalk' = very easy, fun) and the name "Cakewalk" was now set. The dance grew in popularity even after the Civil War (1861-1865), but it would change and become more grand in style and clothing as time marched on.

The Breakdown, Buck dance, Jigs and the Chalk Line Walk would be mixed when the Minstrel Shows started using the Chalk Line Walk in their acts, a Minstrel parody, mixed, which later would be named the Cakewalk. The Minstrel shows of the time would paint their faces black and at the end of the show would do a "Grand Finale," which often times was the Cakewalk. The dance used little breaks in the prancing and strutting and only to allow the male to show off some dance moves and acrobatic like somersaults (Stearns: Jazz dance) while the woman would clap and admire his antics.

By the 1890's, the now named Cakewalk was the hottest thing around and Charles Johnson & Dora Dean are said to have introduced the Cakewalk in 1893 "The Creole Show", but it was already a featured dance in same show back in 1889. However in 1877, it was actually introduced in the Minstrel Show "Walking for dat Cake" and in 1892 the first Cakewalk contest were held in a New York ballroom hosted by Richard K. Fox (Stearn's says Madison Square Garden, but it wouldn't be built for another 20 years or so, so most likely it was a building at that location [or maybe Madison Sq. Roof Garden].) Coney Island also had Cakewalk Dance Contests. Williams and Walker inspired a Cakewalk in the play "Clorindy" Origin of the Cakewalk.

The Cakewalk sheet music would also list the March and Two-Step as dance options to the song so white audiences would be interested in buying it even if they did not know the  Cakewalk. It was first introduced upon the Broadway stage by Dave Genaro.

The competition dancers were called "Walkers" and these dance contests grew very big, such as the National Cakewalk Jubilee in New York City as well as others, where the champions would receive gold belts and diamond rings.

There were two categories of contests:

1) the "Grand Straight Cakewalk" (regular type) and

2)  the "Fancy Cakewalk," (dressed up type) the doors would open at 7:00p.m., Contest at 11:00p.m., and dancing would continue till 5:00am. These Cakewalk dance contests eventually would be held in big cities as Tin-Pan Alley would make a fortune off of the dance and the Rag-time music they would produce. There would be literally 100's of these contests given.

Historically, the Cakewalk was the first American dance to cross over from black to white society as well as from the stage (Minstrel shows) to ballroom. The Cakewalk would be the window for other African-American dances to enter white society in the future. Many of the upper class Summer and Seaside hotels would feature a Cakewalk at the end of the season. A man by the name of Dobbins (born in 1812) is said to have first introduced Cakewalk dancers to high society at Turners Hall in Brooklyn in 1866. The cakewalk lead the way for the future evolution of dances and the dancers to evolve with the contests proving invaluable to dancers personal inventions as eventually the dancers could do whatever dance inventions they wanted and at the end would Strut off with their partners.

The Cakewalk eventually died in the 1920's with the Charleston and other dances, but there were still traces of the Cakewalk in the newer, more modern forms of dance, even the Lindy hop had the Apache and the Cakewalk thrown in as can be seen in the "Shorty George" video clip in "After Seben / At the Jazz Band Ball" video. The Cakewalk music eventually evolved into the birth of Ragtime (around 1899).

The Cakewalks 'high stepping strut' (see strut) would also be adopted by marching bands (originally New Orleans) and later Drum Majors would incorporate the Cakewalk into their routines thanks to John Phillips Sousa who took his marches and cakewalks to London, Russia, France and elsewhere, featuring a "strutting" drummer who would "syncopate" his steps (DeBussey's "Golliwogs"** Cakewalk and Georgia Camp Meeting testify to his success abroad.) A later offshoot of the Cakewalk was the Strut (dance), it was used a lot in the Cakewalk's description of later days. The Champion Strut (1954) was a mixture of the Lambeth Walk, Cakewalk and Swing dance.

In Old Ireland, there was a practice of offering a cake to the best Jig dancer on the Sunday get together. These dancers would do a Penny Jig, which the dancer would pay the fiddler a penny after dancing, trying to win the cake. Quoting from Mrs. Lully's Book: "Although the fare of Sunday seldom rises beyond the accustomed potatoes and milk of the rest of the week, some few halfpence are always spared to purchase the pleasures which the Sunday cake bestows. This cake set upon a distaff is the signal of pleasure and becomes the reward of talent; it is sometimes carried off by the best dancer, sometimes by the achiest wag of the company."....
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*Read this note about the term "African Kaffir":
From https://www.merriam-webster.com/dictionary/Kaffir
"Definition of Kaffir

1. archaic : a member of a group of southern African Bantu-speaking peoples

2. often not capitalized, chiefly South Africa, offensive, see usage paragraph below —used as an insulting and contemptuous term for a black African

Usage Discussion of Kaffir

In South Africa, the use of the term Kaffir to refer to a black African is a profoundly offensive and inflammatory expression of contemptuous racism that is sufficient grounds for legal action. The term is associated especially with the era of apartheid, when it was commonly used as an offensive racial slur, and its offensiveness has only increased over time. It now ranks as perhaps the most offensive term in South African English.

First Known Use of Kaffir

1778, in the meaning defined at sense 1"
-snip-

** Here's some information about the word "Golliwog" from https://www.ferris.edu/jimcrow/golliwog/#:~:text=Apparently%20derived%20from%20the%20word,slur%20against%20dark%2Dskinned%20Arabs.
"
The Golliwog (originally spelled Golliwogg) is the least known of the major anti-black caricatures in the United States. Golliwogs are grotesque creatures,1 with very dark, often jet black skin, large white-rimmed eyes, red or white clown lips, and wild, frizzy hair.2 Typically, it's a male dressed in a jacket, trousers, bow tie, and stand-up collar in a combination of red, white, blue, and occasionally yellow colors. The golliwog image, popular in England and other European countries, is found on a variety of items, including postcards, jam jars, paperweights, brooches, wallets, perfume bottles, wooden puzzles, sheet music, wall paper, pottery, jewelry, greeting cards, clocks, and dolls. For the past four decades Europeans have debated whether the Golliwog is a lovable icon or a racist symbol.

The Golliwog began life as a story book character created by Florence Kate Upton. Upton was born in 1873 in Flushing, New York, to English parents who had emigrated to the United States in 1870. She was the second of four children. When Upton was fourteen, her father died and, shortly thereafter, the family returned to England. For several years she honed her skills as an artist. Unable to afford art school, Upton illustrated her own children's book in the hope of raising tuition money.

 In 1895, her book, entitled The Adventures of Two Dutch Dolls, was published in London. Upton drew the illustrations, and her mother, Bertha Upton, wrote the accompanying verse. The book's main characters were two Dutch dolls, Peg and Sarah Jane, and the Golliwogg. The story begins with Peg and Sara Jane, on the loose in a toy shop, encountering "a horrid sight, the blackest gnome." The little black "gnome" wore bright red trousers, a red bow tie on a high collared white shirt, and a blue swallow-tailed coat. He was a caricature of American black faced minstrels -- in effect, the caricature of a caricature. She named him Golliwogg.


The Golliwog's reputation and popularity were also hurt by the association with the word wog. Apparently derived from the word Golliwog,6 wog is an English slur against dark-skinned people, especially Middle or Far East foreigners. During World War II the word wog was used by the British Army in North Africa, mainly as a slur against dark-skinned Arabs."...
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Click https://blog.imagesmusicales.be/debussys-controversial-golliwog/ 
for information about (and a photo of the cover of the sheet music for) Debussey's Golliwog Cakewalk. 

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