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CHILDREN'S GAME SONGS & MOVEMENT RHYMES
This page contains selected examples & comments about
children's singing games. This page also contains selected examples of movement
rhymes that are chanted in unison.
You'll notice that this page contains multiple
versions of the same rhyme. I'm interested in posting multiple versions of
rhymes as a way of documenting the way that the words of a particular rhyme may
be the same or different in various cities, towns, and/or nations. Posting
multiple examples of the same rhyme also documents the way that the words of a
rhyme may change over time.
The name of the person who provided the example, and the date of her or his
submission is provided with the posted example.
Examples are usually posted under the first letter
of the first word of the rhyme. However, when I believe that the first word that
appears in the rhyme is part of an introductory phrase such as "Blue bells,
cockle shells, eevy, ivy, over", "Ready, set, go", or "Shame shame shame", I'll
place the rhyme under the first letter of the first word of the actual rhyme.
****
click here to send in examples of
children's game songs & other movement rhymes.
Although it is not required,
please include information about how this rhyme is performed. Also, for
the sake of folkloric research, please include the following demographical
information: where you learned the rhyme {please include the city & state
if within the USA, and the nation, if outside the USA}; when you learned
this rhyme {year or decade such as 2008, the 1990s, or the mid 1970s}; and
who performed this rhyme {age, gender, race/ethnicity}. Thanks!
****
Examples of rhymes & cheers are
almost always posted the way that readers send them to this website. Some of
these examples have typos and other accidental spelling errors or have text
messaging, slang, or otherwise purposely misspelled words & phrases. Many of
these examples are written without any capitalization at the beginning of a line
or punctuation mark at the end of line. This free flowing writing style appears
to be the prevailing way that many youth and young adults informally write on
the Internet. Posting examples written this way may result in difficulty
understanding the examples. However, I believe that it is important to keep the
examples' original form for authenticity's sake and as a means of showcasing the
examples' "flavor".
****
I reserve the right not to post examples of rhymes on this page that are
exactly the same as a previously posted example. I also reserve
the right not to post examples of rhymes that I feel don't meet the standards of
this website.
****
Special thanks to
http://www.mudcat.org/threads.cfm;
and
http://blog.oftheoctopuses.com/000518.php10/1/2003
for permission to repost
selected examples from their websites.
Examples of
Children's Game Songs & Other Movement Rhymes
A,B
Ah Boom Chicka Boom
Leader : I Saida Boom Chica Boom!
Group: I Saida Boom Chica Boom!
Leader : I Saida Boom Chica Boom-om!
Group: I saida Boom Chica Boom-om!
Leader: I Said A Boom Chica Rocka Chica Rocka Chica Boom!
Group: I Said A Boom Chica Rocka Chica Rocka Chica Boom!
Leader: Un-Hun
Group: Un-Hun
Leader: Oh-Yeah
Group: Oh-Yeah
Leader: One More Time
Group: One More Time
-various sources; including TPM memories of Pittsburgh, Pennsylvania; mid 1980s
Editor:
"Ah Boom Chicka Boom" is a call & response chant that has no
accompanying movements. But, I wanted to include it on Cocojams, and so I posted it
in this section.
Instruction: The group leader lead the
group in saying this chant in different voices {such as with accents, or with an
"underwater voice". This chant is repeated as many times as the group
leader chooses. Usually, the leader will arbitrarily select a new style of
saying these lines or will instruct the group to say them a different way each
time he or she repeats the chant {for instance, slower or faster, or louder, or
with a voice made to sound as though the words are spoken underwater, or "in a
regular voice"}. The leader repeats the chant as many times as he or she likes.
To designate that it's the last rendition, the group leader may start that chant
with the words "No More
Times”
Note: This cheer repeats with the same soloist. For that reason, and also
because it's not performed with any handclap and foot stomping movements, this
is not a foot stomping cheer. Visit Cocojams' Foot Stomping Cheers page for
examples of those types of cheers.
****
Bob-A-Needle
"Bob-a-needle" is a traditional African American game that children play while
singing. See these two examples of this game song:
Example #1
{traditional African American children's game song; Georgia Gullah culture}
Note: parenthesis represent lines sung by group
Bob-a-needle
{Bob-a-needle is a running,}
Bob-a-needle
{Bob-a-needle is a running,}
Better run, bob-a-needle
{Bob-a-needle is a running,}
Better hustle, bob-a-needle
{Bob-a-needle is a running,}
I want bob-a-needle
{Bob-a-needle is a running,}
Want to find bob-a-needle
{Bob-a-needle is a running,}
Going to catch bob-a-needl
{Bob-a-needle is a running,}
Turn around, bob-a-needle
{Bob-a-needle is a running,}
Oh bob, bob-a-needle
{Bob-a-needle is a running,}
from: Bessie Jones & Bess Lomax Hawes's book Step It Down: Games, Plays, Songs &
Stories from the Afro-American Heritage {University of Georgia Press, 1972,
pps. 163-164}
Here is the commentary about that game from the book Step It Down :
"Bob-A-Needle" {bobbin needle?} is for purposes of this game, a pen, a
jackknife, or a small stick of wood that can be passed rapidly from hand to
hand. All the players but one stand in a tight circle, shoulder to shoulder,
holding their hands behind their backs. The extra player stands in the center of
the ring [circle]; she closes her eyes and hold the bob-a-needle high over her
head in one hand. One of the ring players silently creeps up and takes the
bob-a-needle from her hand and puts it behind his own back. The center player
then opens her eyes and begins to sing the lead line of the song; the players in
the circle sing the refrain...
The lead singer's lines are extemporaneous and can be sung in any order...During
the singing, the players in the ring [forming the circle] from hand to hand,
trying to move as little as possible in order not to make its location obvious.
Bob-a-needle may travel clockwise or counterclockwise, and the players may
reverse directions at will. The center player meanwhile reaches around the waist
and feels the hands of each ring player in turn; she too may go in either
direction, but she may not skip players nor run back and forth across the ring.
When the center player reverses the direction of her search, she must signal
this with the lead line, "Turn, bob-a-needle!"
This game does not end when someone is caught holding the elusive bob-a-needle.
Like most of Mrs. Bessie Jones' games from the Georgia Sea Isle Gullah
tradition that involve 'losing', the person simply pays a forfeit and/or takes
over the center role so that can begin again. When the players tire, the
accumulated forfeits are redeemed by the owners in a new sequence of play."
Also, Chubby Checker, who is best known for his Twist songs, recorded a R&B
version of the African American children's game "bob-a-needle" in 1964.
See
http://www.lyricsvault.net/songs/10915.html for the lyrics to that record.
C,D
Chickama Chickama Craney Crow
Performance
Instructions given in italics:
Children who are pretending to be chickens stand facing the witch. The witch
stands in front of them. The chickens say this first verse in unison in a
taunting manner.
Chickens
Chickama Chickama craney crow.
Went to the well to wash her toes.
When she got back, one of her chicks was gone.
What time is it Mrs. Witch? *
Witch 8 o'clock [the
witch says an arbitrary number]
Chickens What time is it Mrs. Witch?
Witch 3
o'clock [the witch says an arbitrary number]
Chickens What time is it Mrs. Witch?
Witch 3
o'clock [the witch says an arbitrary number]
Chickens What time is it Mrs. Witch?
Witch 10
o'clock [the witch says an arbitrary number]
[this pattern continues for as long as the designated witch wants it to until
this part]
Chickens What time is it Mrs. Witch?
Witch 12
o'clock!!
[When the witch says 12
o'clock, the chickens scatter and try to run to a previously designated "home
base" that is across the yard or large room. The witch tries to tag as many
chickens as she can. When they are tagged, the chickens are supposed to stop
running and go to the witch's side of the yard or room to watch the rest of the
action. [alternatively, the chickens who are tagged can help the witch catch the
rest of the chickens, but I don't like the message this gives of children
turning on their "family members"]. The last person who is tagged is the new
witch.
*A boy would be "Mr. Witch".
-Azizi P; modified in 1999; from "Hawk & Chicken's Play"; Talley's Negro Folk
Rhymes
Editor:
This is a modified version of a very old children's game. A version of
this game is found in Thomas W. Talley's 1922 collection Negro Folk Rhymes,
Wise And Otherwise {Kennnikat Press Edition, 1968; p. 74}. Here's that
example:
Hawk And Chickens Play
(Chicken's Call) Chickamee chickamee, cranie-crow
I went to de well to wash my toe.
W'en I came back, my chicken wus gone.
W'at time, ole Witch?
(Hawk Sponse) "One"
Hawk Call)
"I wants a chick"
Chicken's Sponse "Well, you cain't git mine".
(Hawk Call)
"I shall have a chick!"
(Chicken's Sponse) "You shan't have a chick!"
-snip-
Talley included this example in the Children's Play section of his collection.
It seems like Talley's rhyme is incomplete. I wouldn't be surprised to learn
that the witch chasing the chickens like I added to this game was
"originally" part of that game's activity.
In order that urban children would be able to understand the "story" of the
rhyme, I changed the "hawk" to a "chicken". When I shared taught this game to
groups of children, I explained to them that I wasn't certain what "chickama
chickama craney crow" meant. For some vague reason, I think "craney" means
"smart" {perhaps from the Scottish word "ken". I told them this, and also told
them that these lines might mean "grandma chicken" or it could mean "chickens,
my chickens [said] granny crow". I told them that if I found out what that
line really meant, I'd let them know. If any Cocojams readers have any idea what
this line means, please share it with me and other readers.
Initially, I taught this rhyme with a mother hen who was to say the first verse
alone and with her chickens standing in a vertical line behind her.
Theoretically, the "mother hen" was supposed to help her chickens get safely to
"home base". However, in practice, I found this didn't work out well, since the
1. you had to go through a step of picking a mother {or father} hen and 2. the
mother hen just ran to home base and didn't "protect" her children from the
witch and 3. All the children wanted to do was run to home base anyway so adding
the steps of choosing a mother {or father hen} and reminding them to help the
other "chickens" seemed wasted efforts.
With regard to choosing when the witch says "12 o'clock": I suggested to the
child who is designated as the witch not to repeat this sequence more than 5
times since I found that the children would get too bored and restless beyond
that number.
I wasn't surprising that the children liked the chasing part the best. The
fact that they don't know when they will have to run {since they don't know when
the "witch" will say "12'o clock" means that they have to stay ready & alert,
which is a good survival skill to learn. I believe that this may have been the
way this game was played
"Call & Sponse" in the Talley example means "call & response". See what I
believe is another modified version of this rhyme on this website of Halloween
songs:
http://www.teach-nology.com/worksheets/misc/halloween/songs/songs/1/
That version is called "Old Witch, Old Witch" and starts with this verse:
Chicken my chicken my creamy crow,
I went to the well to wash my toe,
When I got there the water was low,
What time is it, Old Witch, Old Witch?
What time is it Old Witch?
-snip-
Unlike my version, there's no mention in that "Old Witch Old Witch" rhyme of any
running/chasing activity.
****
Down Down Baby
{Example #15}
Down down baby, down by the rollercoaster Sweet sweet
baby, I'll never let you go Shimmy shimmy cocoa pop, shimmy shimmy rock Shimmy
shimmy cocoa pop, shimmy shimmy rock I like coffee, I like tea, I like a boy and
he likes me So step off boy but don't be shy cuz I bet you five dollars you're
gunna cry Last night or the night before, I met my boyfriend at the candy store
He bought me ice-cream, he bought me cake He sent me home with a stomach ache
Mama mama, I feel sick Call the docter, quick quick quick! Docter, docter, am I
gunna die? Close your eyes and count to five 1,2,3,4,5- I'M ALIVE!!!!!!
-Noelle R.; 3/2/2008
****
Down Down Baby
{Example #14}
I'm mixed and
grew up in a black neighborhood in Philadelphia, PA in the 1990s. It was mostly
the black girls that played hand games, but sometimes the white girls played
with us, too. Or the boys, if we could convince them! :) DOWN DOWN BABY Down
down baby, down by the roller coaster, Sweet sweet baby, I'll never let you go!
Shimmy shimmy coco puff shimmy shimmy pow! Shimmy shimmy coco puff shimmy shimmy
pow! I like coffee, I like tea. I like a boy and a boy likes me! Grandma,
Grandma sick in bed! Momma called the doctor and the doctor said: Let's get the
rhythm of the head, ding dong! Let's get the rhythm of the head, ding dong!
Let's get the rhythm of the hands, clap clap! Let's get the rhythm of the hands,
clap clap! Let's get the rhythm of the feet, stomp stomp! Let's get the rhythm
of the feet, stomp stomp! Let's get the rhythm of the hot dog! Let's get the
rhythm of the hot dog! Put it all together and what do you get? Ding dong, clap
clap, stomp stomp, hot dog! Hand Movements A circle of girls (or two girls),
stand with their right palm facing down and left palm facing up so that
everyone's palms are touching the palms of the girl next to them. The girls move
their hands up and down to slap palms to the rhythm of the song, except for
certain motions. "roller coaster": move your hands in a waving motion "I'll
never let you go": cross your arms across your chest and swing your shoulders
from side to side "pow": points your fingers out like guns "tea": mimic drinking
tea with your pinky out "me": point to yourself with both thumbs "ding dong":
move your head left, then right, moving your ear towards your shoulder "clap
clap": clap your hands twice "stomp stomp": stomp once on each foot "hot dog":
drag out the word "hot" and circle the hips
-Kristina ; 2/2/08
Editor:
Thanks, Kristina, for sending in that version of "Down Down Baby". Thanks, also
for sending in demographical information {your race, your geographical location,
and when you performed this rhyme. I also appreciate that you also included
information about how you and your friends performed this rhyme!
****
Down Down Baby
{Example #13}
down down baby Down down baby down down the rollercoaster sweet sweet baby
muma's gonna let you go gimme gimme ice-cream with a cherry top, cherry top
gimme gimme ice cream with a cherry top cherry top lolllllllly "pop" this is the
rhyme we do at school.
-Charlotte; 12/3/2007
****
Down Down Baby
{Example #12}
I grew up in MO. and KS. in the 80's, We spent hours doing hand clap rhymes on
the playground and while riding the school bus. This is a little different
version of "Down Down Baby" that we did with a complicated clapping pattern.
"Down Down Baby" Down , down baby down by the rollar coaster Sweet , sweet baby
sweet won't you let me go? Sugar, sugar cocoa pops sugar, sugar rocks I like a
little boy and he likes me Step back Jack your pants are too black Looking like
a monkey on a railroad track To the front , to the back to the side, side, side
To the front, to the back to the side, side, side Apples on the table peaches on
the floor Step back Jack , you don't love me no more
-Chan ; 7/3/2007
Editor:
Thanks, Chan, for sending in this example. Thanks also for including
demographical information {the states where you lived and the decade that you
recall doing this rhyme}. Thanks, also for including information about how you
and your friends performed this chant {handclaps}.
****
Down Down Baby
{Example #11}
down down baby down by the roller coaster sweet sweet baby sweet sweet don't let
me go shimmy shimmy coco puff shimmy shimy rah shimmy shimmy coco puff shimmy
shimmy rah i got a boyfriend ah biscut he so fine ah biscut like a cherry pie ah
biscut apples on the table peaches on the floor step back baby i don't love you
anymore to the front to the back to the side side side to the front to the back
to the side side side
-emily ; 3/11/2007
****
Down Down Baby
{Example #10}
down down baby, down by the water hole sweet sweet baby my hearts in LOVE,
shimmer shimmer baby shimmer shimmer rock, shimmer shimmer baby shimmer
shimmer rock, shimmer shimmer baby shimmer shimmer oooh, simmer shimme
baby shimmer shimmer arrgh shimmer shimmer baby shimmer shimmer oooh arrgh
-Sophie {UK}; 4/8/2007
****
Down Down Baby {Version #9}
Down Down the roller coaster
sweet sweet baby
I'll never let you go
Just because you kissed me
Doesn't mean I like you
This is for the army **(army salute)**
This is for the navy **(Navy salute)**
This is for the preachers **(Pray)**
This is for the teachers **(attitude snap)**
ABCDEFG **(Clap Clap)**
HIJKLMNOP **(Clap Clap)**
QRST **(Clap Clap)**
TUV **(CLap Clap)**
WX **(Clap Clap)**
YZ **(CLap Clap)**
I'm Popeye the sailer man 2,4
I live in a garbage can 2,4
I eat all my spinach in 25 minutes
I'm popeyethe sailor man 2,4
2,4 gobble gobble 2,4 freeze
-GeminiChix,
http://blog.oftheoctopuses.com/000518.php ; 2/28/2006
****
Down Down Baby
{Example #8}
Down down baby, down by the roller coaster
Sweet sweet baby, I'll never let you go
Shimmy shimmy coco puff shimmy shimmy wow
Shimmy shimmy coco puff shimmy shimmy wow
Grandma grandma sick in bed, she called the doctor and the doctor said:
Let's get the rhythm of the head, Ding Dong (move your head from left to right),
lets get the rhythm of the head Ding Dong (move your head from left to right)
Let's get the rhythm of the hands (clap twice),
Let's get the rhythm of the hands (clap twice),
Let's get the rhythm of the feet(stomp twice),
Let's get the rhythm of the feet (stomp twice),
Let's get the rhythm of the hot dog,
Let's get the rhythm of the hot dog,
Put it all together and what do you get (repeat the rhythms)
-a_MaidensPrayer;
http://blog.oftheoctopuses.com/000518.php; 3/7/2005
****
Down Down Baby {Example #7}
Down, down baby
Down, down the roller coaster
Sweet, sweet baby
I'll never let you go
Chimey chimey cocoa pop
Chimey, chimey pow
Chimey, chimey cocoa pop
Chimey, chimey pop
I like coffee, I like tea
I like a colored boy and he likes me
So lets here the rhythm of the hands, (clap, clap) 2x
Let hear the rhythm of the feet (stomp, stomp) 2x
Let's hear the rhythm of the head (ding dong) 2x
Let's hear the rhythm of the hot dog
Let's hear the rhythm of the hot dog
Put em all together and what do you get
(Clap clap, stomp stomp), ding dong, hot Dog!
- Yasmin H. {Latina female from {Brooklyn} New York, New York, from her from her
memories of her childhood in the 1980s:
11/2004
****
Down Down Baby
{Example #6},
Here's one I remember from the 1970s in NW Ohio that had hand motions. From
looking online today, I think we combined a bunch into one long rhyme:
Down, down baby
Rocky-rocky roller coaster
Sweet-sweet baby
I don't wanna let you go (make arm motions like rocking a baby)
Shimmy shimmy cocoa-cola
Shimmy shimmy swirrrrrrl (make swirl motion with hand)
Shimmy shimmy cocoa-cola
Shimmy shimmy swirrrrrl
I like coffee
I like tea
I like a little boy
And he likes me
-W.
Lomano;
http://blog.oftheoctopuses.com/000518.php;
11/10/ 2004
****
Down Down Baby {Version #5}
Down Down Baby,
Down By the Rollercoaster,
Sweet sweet Baby,
I'll never let you go,
Shimmy Shimmy Coco Pop,
Shimmy Shimmy Rock,
I met a girlfriend,
A triscit,
She said a Triscit a Biscit,
Ice Cream,
Soda pop,
Vanilla on the top,
OOOH Johny,
Walkin down the street,
Ten Times a week,
I met it I said it I said it I meant it}
I stole my momma credit,
I'm cool,
I'm Hot,
Sock me in the stomach one more time...
-Ashley; 8/10/2003;
http://blog.oftheoctopuses.com/000518.php
****
Down Down Baby {Example #4}
Down Down Baby
Down by the roller coaster
Ah Biscuit
Shimmy Shimmy Coco Pah
Ah Biscuit
Um Shar Shara
Uh she she ahwa
Ah Biscuit
I had ah boyfriend*
Ah Biscuit
He’s so fine
Ah Biscuit
Like a cherry pie
AH Biscuit
Shimmy Shimmy Coco Pah
Um Shar Shara
Uh she she ahwa
I wanna tickle you.
-Diamond D., Quala P., Quinton P.,
Ashley P., Javonte P., and other children 5-12 years old;
{Duquesne, PA, 1999}; collected by Azizi Powell, 1999;
posted by Azizi Powell, 2/26/2006
****
Down Down Baby {Example #3}
Down, down baby
Down by the roller coaster
Sweet sweet baby
I'll never let you goShimmy shimmy ra
Shimmy shimmy ko ko bop
Shimmy shimmy ra
I met a girlfriend a triscuit
She said a triscuit a biscuit
Ice cream, soda pop,vanilla on the top
something, something
Walking down the street, 10 times a week
I said it, I meant it
I stole my momma's credit
I'm cool, I'm hot
something, something
-rosebrook; 9/21/1998;
http://www.mudcat.org/thread.cfm?threadid=6600#38587
"Downtown Baby"
Editor:
This Mudcat thread contains mention of and the lyrics for the 1959 hit song
"Shimmy Shimmy Ko-Ko-Bop" by Little Anthony and the Imperials. Lyrics from that
"Shiimy Shimmy Ko Ko Bop {and similar sounding words} are also found in a number
of hip-hop recordings.
****
Down Down Baby {Version #2}
the space goes down, down baby, down, down the roller coaster. sweet, sweet
baby, sweet, sweet, don’t let me go. shimmy, shimmy, cocoa pop. shimmy, shimmy,
rock. shimmy, shimmy, cocoa pop. shimmy, shimmy, rock. I met a girlfriend - a
triscuit. she said, a triscuit - a biscuit. ice cream, soda pop, vanilla on the
top. ooh, Shelly’s out, walking down the street, ten times a week. I read it. I
said it. I stole my momma’s credit. I’m cool. I’m hot. sock me in the stomach
three more times.
-featured in the movie Big {david moscow (josh) and jared rushton (billy) in
Big, 1988} transcribed from
http://admissions.gallaudet.edu/gblog/index.php/2006/02/16/the-space-goes-down-down-baby-down-down-the-roller-coaster/
; attributed to Robin, gallaudet blog; 2/2006; See other versions of that rhyme
on that page.
Editor:
This version of "Down Down Baby" was featured in the 1988 movie Big, and
starts with the introductory phrase "the space goes". In my opinion, "the
space goes" is a folk etymology version of another introductory phrase "the
spades go" or "the spades goes". I believe that "the spades" here means "The
Black people" {as "spades" is a colloquial, sometimes offensive referent for
"Black people". This phrase points to the fact that the children performing
these rhymes are indicating that they are saying or doing them the same way that
they {or someone else} has seen Black people do them. These phrases imply that
the rhymes originated with, or where mostly done by, Black people {African
Americans}. And to a large extent, that implication is true.
****
Down Down Baby {Example #1}
Down, down, baby down by the roller coaster
Sweet, sweet baby I'll never let you go
Shemie, shemie coco butter, shemie shemie pop
I like coffee, I like tea, I like a black boy and he likes me
So step back white boy, you don't shine
I'll get the black boy to beat your behind
Last night and the night before
I met my boyfriend at the candy store
He bought me ice cream he bought me cake
He brought me home with a belly ache
Mama, mama, I feel sick
Call the doctor, quick, quick, quick
Doctor, doctor, will I die
Close your eyes and count to five
1, 2, 3, 4, 5, I'm Alive!
-Tonya T. {African American female}, memories of her childhood in Crawfordville,
Georgia {1979 -1987};
11/2002
Editor:
Tanya wrote that she performed this handclap rhyme from when she was about age 5
to 13.
Editor:
This is just one version of the large family of rhymes that are known as "Down Down Baby" or "Shimmy
Shimmy Coco Puffs" {or "Cocopow", or "Cocopops" or some other similar sounding
phrase}.
"Down Down Baby" rhymes have been documented to be performed as either handclap
rhymes, jump rope rhymes, or movement rhymes. For organization's sake, I've put
selected examples of "Down Down Baby/Shimmy Shimmy Co Co Pa" on this page, even
if the comments from the person providing the rhyme indicates that it is
performed as a jump rope rhyme or a partner hand clap rhyme.
"Down Down Baby" and Shimmy Shimmy Co Co Pa" are
very closely to the "Last Night And The Night Before" family of rhymes.
Versions of all of these rhymes may be performed as partner handclaps, or they
may be performed by one child who alternates foot stomps with clapping his or
her own hand. However, when the "Down Down Baby" rhymes on this page are chanted
by two or more children, usually the entire rhyme is chanted in unison. These
performance activities distinguish these rhymes from partner handclap rhymes and
from group/soloist foot stomping cheers.
Visit Cocojams' Handclap Rhymes page to read examples of "Last Night & The Night
Before". Also, visit Cocojams' Handclap page for examples of Down Down Baby
that don't include the "shimmy shimmy co co pa" lines or other commands to do
movements.
"Down Down Baby I
Know Karate" is another variant form of "Down Down Baby" that appears to be
performed only as a handclap rhyme and not a unison movement rhyme.
Visit Cocojams' Handclap Rhymes page to read examples of that rhyme.
E,F
G,H
Going Round The Mountain, Two By Two
Going round the mountain, two by two.
Going round the mountain, two by two.
Going round the mountain, two by two.
Tell me who loves sugar and candy.
Let me see your motion, two by
two.
Let me see your motion, two by two.
Let me see your motion, two by two.
We can do you motion. two
by two.
We can do you motion. two by two.
We can do you motion. two by two.
Tell me who loves sugar and candy.
-Traditional African American game song, various sources;
posted by Azizi, 2004
Editor:
“Going Round The Mountain, Two by Two” is a traditional African American
“show me your motion” ring game (circle game). From my reading it appears
that the way this game was played traditionally was that girls and boys of
different ages (and sometimes adults) form a circle without holding hands.
One person stands in the middle of the circle. The group chants in unison,
claps their hands and moves to the song’s rhythm. On the words “let me see
your motion”, the person in the middle performs a dance step or some other
movement. The group then tries to exactly imitate that movement. The song
usually continues with the group saying “Who do you choose?”
Traditionally, the middle player would purposefully choose another player
(usually if the middle player was a boy, he would choose a girl or vice
versa).
I don't recall this song from my childhood {Atlantic City, New Jersey,
1950s}. I also don't recall ever observing it being played in Pittsburgh,
PA where I've lived since 1969. I'm curious to know if this game has
survived elsewhere, and how it is played then & now.
However, it's interesting to me to note that the middle person was always
chosen at random when I was growing up, and playing "show me your motion"
circle games. And, from my observations, African American children in
Pittsburgh, PA in the late 20th century to date {2007} are still choosing
the next middle person, at random, the same way that my friends and I did
way back in the 1950s in New Jersey.
Here's how I recall and have seen the next middle person being selected:
At a specific point in the song, the middle player closes her or is or her
eyes, covers her eyes with one hand, and while still in the center of the
circle, turns around pointing at random to the other players making up the
circle. The person who the middle player is pointing to at the end of the
song is the new middle person. The former middle person then re-joins the
other players and the song begins again. Traditionally, these types of
games don’t end until everyone has had a turn in the middle of the circle.
But currently, when the children get tired of playing that particular
song, they move on to another song-this is if they are even playing these
games at all...and-with very rare exceptions-I believe that very few
children know and play "show me your motion" and other singing circle
games. The game song "Going to Kentucky" [listed below] appears to be a
rare exception.
**
I'm wondering if the change from purposeful to random selection of the
middle person reflects a change in values, and in parenting/community
raising children, and other heavy duty psycho-social dynamics. For
instance, in my experience from 1997-2005 facilitating after-school and
summer groups for {predominately} African American girls and boys, ages
5-12 years old, in Pittsburgh, and some neighboring Pittsburgh
communities, there's no question that most of the children were almost
totally unfamiliar with show me your motion games {the only exception was
"Going To Kentucky". This game is including in some school music
textbooks. Maybe that's the reason why it is known to these children}.
Many children who attended the game song groups I facilitated where afraid
of being selected as the middle person. They were unused to being the
center of attention, and they were afraid that they would be teased. This
fear of being teased was well founded. However, my groups had a "no
teasing" rule. Two of these groups met once a week for three years. One of the best outcomes of those groups
was that over a period of time, some
of the shyest children who were the most fearful of being teased were eager to be
selected to be in the middle. These children not only reinforced their
self-esteem and self-confidence but learned that they could count on their
peers to treat them respectfully.
Maintaining an attitude of expectant readiness and being able to think
quickly and creatively are cognitive skills and survival skills that are
important skills for children to develop and reinforce today. I believe
that random selection of the middle person can help children develop and
reinforce these skills.
When the middle player is chosen at random, players never know when they
will be picked to go into the middle of the ring. Therefore, every player
has to be ready to quickly take his or her turn as the middle person. The
middle person is also expected to perform a different 'motion' or perform
the same motion slightly differently than anyone else has done before him
or her. Therefore children learn that they need to think ahead and have a
"Plan A" and a "Plan B" in case someone 'takes their move'.
This practice of selecting a different movement [often a dance step with
older, or more confident children] lives on in various foot stomping
cheers that I collected from the 1980s, but that's a whole 'nuther
subject.
[Note: In the children's groups which I coordinated, with smaller children
and some older ones, this 'rule' that the new middle person had to select
a different movement' was largely suspended].
Addendum to this comment:
It occurred to me that even if those points I made above are valid
[regarding teasing etc], they don't explain why choosing the middle person
changed in some communities from a purposeful act to a random act.
I think that this may have occurred because:
1. the game was at one time a way of signaling to the community and your
peers who you liked romantically [middle girl choosing boy and vice versa]
Of course, this theory would hold true if these games were played by teens
and young adults, the same population which played 'play party' songs.
and
2. the random selection may have helped to put a stop to favoritism that
occurred when the person in the middle only selected those children who
were the most popular. When you never know who is going to be picked and
when, this puts all children on an equal footing...
I'd love to 'hear' your views on these theories.
Addendum #2:
See my response to a question about "Goin 'Round The Mountain Two By Two"
on this discussion forum:
http://www.mudcat.org/thread.cfm?threadid=98023&messages=9
"Children's games. Choosing the middle
1"
[reposted with minor corrections & additions; 1/14/2007]
I found this song in a book-sorry can't remember the name-something like
"Children's Games From Many Lands"...
And even though the book said that "Going round the mountain etc" was a
circle game, I believe it had evolved from a partner {two people}
promenade "play" in which children walked or strutted around the yard or
room.
This makes better sense to me because of the words. But also there was a
drawing with the song of a vertical line of couples {two children a boy
and a girl, or two boys, or two girls walking outdoors. I can't remember
if "the couple" held hands or not.
****
Going To Kentucky
We’re going to Kentucky
We’re going to the fair
To see the sister Rita *
With the flowers in her hair **
[Oh] shake it sister Rita
Shake it all you can
Cause all the boys ***
Are watchin you
So do the best you can
Rumble to the bottom
Rumble to the top
Turn around
And touch the ground
Until you holler
S-T-O-P
Speeells
Stop.
-Various sources, including girls and boys ages 5-12 years old Alafia
Children's Ensemble, Braddock, PA 1997 and Alafia Children's Ensemble,
Pittsburgh, PA 1998}
* for a boy in the center, the group was directed to say “brother Rico”
[that the group didn't know what to say for a boy is a reflection of the
fact that -outside of adult directed organized play activity such as
Alafia Children's Ensemble, boys don't play this game.]
** for a boy in the center, the group was directed to say “flowers in his
hand”
*** for a boy in the center, the group says “cause all the girls are
watching you" etc
**** On the words "S-T-O-P", the person in the center 'closes' her eyes ,
covers her eyes by putting her right hand over her eyes, extends her left
arm and points while she twirls around in the center of the circle. The
person who she is pointing to on the word "Stop" is the new center person.
The new center person quickly goes to stand in the center, the old center
person quickly rejoins the circle, and the game immediately begins again .
**
Throughout the years since I've been collecting children's rhymes, I've
seen this 'game' played by African American girls in various Pittsburgh
African American neighborhoods. I've heard the girl referred to as "Sister
Rita", "Sister Reena" and rarely "Senorita". "Sister Rita" and "Sister
Reena" are folk etymology versions of "senorita", as Spanish word meaning
"little woman" that these African American girls didn't know.
****
Green Sally Up
Green Sally up
Green Sally down
last one squat got to till {touch? tear?} the ground
Ole {Oh?} Miss Lucy dead and gone.
Left me hear to weep and moan.
If you hate it fold your arms
If you love it clap your hands.
-snip-
This African American children's game song is included on Disc 4 of Alan Lomax's
Sounds of the South, A Musical Journey from the Georgia Sea Isles to the
Mississippi Delta. {Atlantic 787496-2; 1993}
The same verses are repeated again and again. The tempo of this song is
rather slow and handclapping is the only accompaniment.
The notes for "Green Sally Up" says this is "a black children's singing
game performed by a group of women in Como, Miss. The slaves have passed on to a
modern generation of children a whole literature of children's songs which
resemble the familiar English Ring Around the Rosie, but which were gayer and
more syncopated."
**
A contemporary version of "Green Sally Up" was recorded in 2000 by Moby.
That song was given the title "Flowers". Here's a link to the
YouTube sound video of this song:
http://www.youtube.com/watch?v=TDKkoH1ckHo . The YouTube video is
erroneously titled "Bring Sally Up".
See more information on "Green Sally Up" on its very own Cocojams' page.
****
Here Stands A Blue Bird
Here stands a blue bird,
Tra la la la.
Here's stands a blue bird,
Tra la la la.
Here's stands a blue bird
Tra la la la.
Oh, she* likes sugar & tea.
Let me see your motion,
Tra la la la.
Let me see your motion,
Tra la la la.
Let me see your motion,
Tra la la la.
Oh, she* likes sugar & tea.
Oh, we can do your motion,
Tra la la la.
We can do your motion,
Tra la la la.
We can do your motion,
Tra la la la.
Oh, she* likes sugar & tea.
Who do you choose?
Tra la la la.
Who do you choose?
Tra la la la.
Who do you choose?
Tra la la la.
Oh, she* likes sugar & tea.
-various sources, including Azizi P's memories of childhood {Atlantic
City, New Jersey, 1950s}
{begin song again with new person in the middle; change color mentioned
based on the color shirt or the color of the pants that the person is
wearing}.
* change gender pronoun to "he" for boys who are selected as the "blue
bird"
Editor:
"Here Stands A Blue Bird" is a circle game with one person in the middle.
I have clear memories of singing this song and playing this game when I
was growing up in Atlantic City, New Jersey in the 1950s. It
surprised me to learn that, with the exception of my daughter who learned
this song from me as a child, "Here Stands A Blue Bird" was also
unfamiliar to the children and adult staff & volunteers who participated
in Alafia Children's Ensemble's game song groups that I conducted in
several Pittsburgh, Pennsylvania communities {1997-2007}. As was
customary with those groups, after I taught the group this song, both the
children & the adults joined together to perform it {hence the reference
to "person" instead of "child" in the performance instructions}. Read more
information about Alafia Children's Ensemble in Cocojams' About Us page.
Performance Instructions: The group forms a wide circle around a person
who is selected as the first middle person. The middle person doesn't
sing. Each person in the group holds the hand of the person to either side
of her or him. The group begins singing the song, and walking
counter-clockwise around the middle person. During the first verse, the
middle person stands and flaps her {or his} arms, pretending to be a bird.
The middle person can move around the inside of the circle if she chooses
to do so. On the words "oh, she likes sugar & tea", the group stops moving
and stops holding hands. Each person in the group, including the middle
person, pretends to put a cube of sugar in a cup and then holds the cup
close to her or his mouth and drink it.** The group then continues singing
the song, and resumes holding hands and walking counter-clockwise around
the circle to the beat of the song. In the second verse, the group drops
hands, stands in place, and does a hand clapping foot stomping or hopping
to the beat motion while singing the song.** In response to the command
"let me see your motion", the middle person remains in the center of the
circle while she performs some movement {such as jumping, hopping,
skipping, dancing}. In the third verse, the middle person continues to do
the same movement that she selected, and the rest of the group tries to
exactly imitate that movement. In the fourth verse, the group continues
singing, and resumes holding hands, and moving counter-clockwise around
the circle. The middle person closes her eyes and puts her right hand over
both of her eyes. While she remains standing in the center of the circle,
the middle person extends her left arm, and points her hand out group
members while she turns around.*** The person who the middle person is
pointing to when the song ends, becomes the new middle person. The former
middle person quickly rejoins the circle, and the new middle person
quickly takes her place. The game is supposed to immediately begin again.
** These are innovations that my daughter, TMP, added to the
performance of this game. I don't recall doing these movements when I was
a child.
*** One woman I met who was raised in Georgia in the 1980s, told me that
when she and her friends played circle games with one person in the
middle, they didn't close their eyes & turn around in order to pick a
person "by accident". Instead, the middle person purposely selects the
next middle person by walking, strutting or dancing up to that person.
****
Here Comes Zodiac
{Version #3 of Here We Go Zoodio}
ok the zodiac thing I did at camp but it had more words.
Here comes zodiac zodiac zodiac here comes zodiac all night long
here comes sally walking down the alley here comes sally all night long
here comes another one just like the other one here comes another one all
night long.
I looked out yonder and what do I see? A big fat man from tennesse. I bet
ya five dollars that ya can't do this, I bet ya five dollars that ya can't
do that.
to the front to the back to the side side side. to the front to the back
to the side side side. You lean wayyyyyy back, you got a hump on your
back, you lean way back you got a hump on your back. Do the camel walk.
and I think it repeated. We did it as a square dance. I'm not sure if the
first part is quie right but the rest should be. Has anyone heard of this?
-Guest; 28 Feb 06; Children's Singing Games
http://www.mudcat.org/thread.cfm?threadid=31226&messages=23
****
Here We Go Zoodio
{Version #2}
[this is a slightly edited re-post from the Mudcat thread whose link
is provided below; this comment was written in response to Guest's post,
Version #1 of this rhyme]:
...with regards to the Here Comes Zodiac
song, the version that I was taught was "Here We Go Zoodio". I have "Zoodio"
written "Zudio". I believe it's included that way in Bessie Jones & Bess
Lomax Hawes' book Step It Down: Games, Plays, Songs & Stories from the
Afro-American Heritage" {University of Georgia Press, 1972}.
Unfortunately, I can't find that book at the moment so I can't verify that
spelling or the word or the words to that version of that song.
Mrs. Janie Mae Owens, a woman from Georgia, taught that song to children
in our church's vacation Bible school when I was a child. Mrs Owens said
she sung this song when she was a child. I've remembered it and introduced
it to children in my community. The words to the version I was taught are
are basically the same as GUEST Date: 28 Feb 06 - 11:39 PM posted,
However, it ends before the "I look out yonder" lines. {though I've seen
those lines elsewhere in collections of African American children's
rhymes}.
The words to that version are:
Here we go Zoodio Zoodio Zoodio
Here we go Zoodio all night long
Step back Sally Sally Sally
Step back Sally all night long
Walkin down the alley alley alley
Walkin down the alley all night long
-snip-
The way I learned "Zoodio" was:
1. children chose one partner
2. the two partners stand facing each other
3. the two partners crossed their hands and held their partner's hand
4. while singing the first lines "here we go zoodio zoodio zoodio here we
go zoodio all night long", the partners swing their crossed hands back and
forth to the beat, and while standing still, also move their slightly bent
knees up & down to the same beat
5. on the words, "Step back sally", the partners jump back and forth away
from, and then toward their partner
6. on the words, "walking through the alley", the partners strut to
another partner
7. the song begins again and continues in this pattern
This movement song is good exercise and fun to do for children, teens, and
adults!
-Azizi, 4 October 06; Children's Singing Games
http://www.mudcat.org/thread.cfm?threadid=31226&messages=23
also Click
http://www.peterandellen.com/lyrics/zudio.htm for a version of the
song "Here We Go Zudio" . That version is similar to version #1, but
contains more verses. Also, click
http://www.mudcat.org/thread.cfm?threadid=31226&messages=21#2329069
for another version of this song and my comments about it.
****
Here We Go Zoodio
{Version #1}
ok the zodiac thing I did at camp but it had more words.
Here comes zodiac zodiac zodiac here comes zodiac all night long
here comes sally walking down the alley here comes sally all night long
here comes another one just like the other one here comes another one all
night long.
I looked out yonder and what do I see? A big fat man from tennesse. I bet
ya five dollars that ya can't do this, I bet ya five dollars that ya can't
do that.
to the front to the back to the side side side. to the front to the back
to the side side side. You lean wayyyyyy back, you got a hump on your
back, you lean way back you got a hump on your back. Do the camel walk.
and I think it repeated. We did it as a square dance. I'm not sure if the
first part is quie right but the rest should be. Has anyone heard of this?
-Guest; 2/28/2006; Children's singing games;
http://www.mudcat.org/thread.cfm?threadid=31226&messages=23
****
Hey Ladies
This is game called "Hey Ladies" A circle game. All the girls get in a
circle, and a solo person starts saying this: "Hey ladies all break down
with the (whatever dance move the want to do and they do it, and while
doing it she says "boom boom chick boom ba boom chick" (repeat 1 time)).
Then the group says: "all break down with the boom boom chick boom ba boom
chick" repeat 1 time. and then they do the same dance move the solo person
just did. You keep going around the circle, so that everyone has a chance
at a solo. I did this at my elementary school in Massachusetts, and mostly
african american girls would participate
-kamyra; 3/29/2007
Editor:
Kamyra, thanks so much for sending this example in. Thanks also for
including the demographical information about where and who performed this
example. I'm also curious about when your school performed this {the year
or decade that you learned it and whether you get the sense that it was
new or had been around for a while.}
See an example from the 1980s of Boom Chicka Boom on Cocojams' Foot
Stomping Cheer's page. The circle game that you sent in seems to be a
variant form of that cheer. And that's great!
****
Hold Up The Gateposts
I remember a game called" Hold Up The Gateposts". Two people would make a
bridge with their hands clasped to each other and held up high over their
heads. Other children would then march around and under their arms. The
song went: Hold up the gate post High as the sky; Let King George and his
horses pass by. Here's the hatchett, Laying on the bed Next one come We're
gonna chop off his head. And with that , the arms would come down and
capture the person who was under the "bridge"
-Judy G.; 12/10/2007
Editor:
Thanks, Judy G., for sending in that game song and the description of how
it is played. I'm wondering if where {geographical location} and when
{years/decades} you played it. The "hatchet gonna chop off his head" and
this game's play instructions reminds me of the "London Bridge is Falling
Down" game that I played when I was a child in Atlantic City New Jersey
{1950s}. See that example below.
I,J
K,L
Kye Kye Kule
Editor's Note: This traditional children's game song from Ghana, West Africa
is included on this page because it has been taught to children in various
elementary schools throughout the USA.
On February 22, 2006, I received a message from Johann Quarcoo via Cocojam's comment page. I responded to Quarcoo's message and specifically asked him about the children's game song "Kye
Kye Kule". See these excerpts of that email:
"Johann Quarcoo, there is a song that is taught to children in
some public schools here called 'Che Che Kule'. This is pronounced by us as 'Jay
Jay Kulay'. {I'm sure this isn't the right spelling}. Here are the words to that
song that a
Ghanaian man who I met in Pittsburgh, Penn in the 1980s shared with me:
Kye kule
Kye kye kule.
Kye kye kofi sa x2
kofi salanga x2
Salatilanga x2
kum ayede , kumayede , kumayede
-snip-
Also, Johann, see this message that I received from a Cocojams' reader in 2005:
"Hello... I did a search on the song che che kule because I had remembered
singing this song in music class when I was in the 4th or 5th grade. The search
led me to your site.
We sang this song as we touched our heads and then shoulders and so on. It was a
song which was in our text book.
I was amazed at how well I remembered the words considering the years that have
passed. I don't know why I recalled it but I'm glad I was able to find
information about this song. I just thought I would let you know. Thanks, Have a
great day."
-snip-
Johann, do you know this song? I'd love to know what the words are in your language what
they mean {if anything}. That song mentions the name Kofi and I understand that "Kofi"
is a Ghanaian name that means "male born on Friday". Would you please share with
me how this song is performed? Thank you.
-snip-
Johann asked me to call him Quarcoo. Here is Quarcoo's response:
"I made some enquiries about this song. It is a Ga game but because of our
school system which promotes ethnic fusion it has become a national thing. My
dad couldn't really tell me the meaning of the words, but said that the
words: "Salanga" is a name used by northerners [members of ethnic
groups who live in the Northern part of Ghana] (could be Dagomba, Frafra or Gonja)
so Kofi Salanga is a northern boy. And when singing the song, with the
pronouncement of every sentence you touch your body in ascending and descending
order. When you start "kyekye kule" (you touch your shoulders with both hands
and those responding kyekye kule will do likewise, continue to your waist,
knees and the toes) and this continues till you reach your toes and then you
start all over again.
Kyekye kule on national t.v (called Ghana T.V or GTV) was a children's
programme, and it was so popular that I never for once missed an episode. It was
hosted by an old teacher. It was filled with several other Ghanaian games...
-Johann Quarcoo, from Ghana, by electronic message to
Azizi Powell, 2/24/2006; posted by Azizi on Cocojams 2/26/06.
-snip-
Visit
http://en.wikipedia.org/wiki/Akan_name for information on the Ghanaian day
name Kofi {meaning "male born on Friday"} and other Ghanaian day names...
According to
http://en.wikipedia.org/wiki/Ghana, and other online resources, "Northern"
is one of 10 regions of modern day Ghana. Also, the Ga are one of the major
ethnic groups of Ghana.
For more information on Kye Kye Kulay, please visit
http://www.mudcat.org/thread.cfm?threadid=108069&messages=13
Kye Kye Kule {Che Che Kulay}
****
Little Sally Anne
{Version #2}
The game I played as a child in the mountains of Virginia as a young "colored
girl" at the colored school was: Little sally Anne sittin in the sand weeping
and a crying for a handsome man rise sally rise wipe ya dirty eyes put ya hands
on ya hips let ya backbone slip shake it to the east shake it to the west shake
it to the one you love the best shake it up shake it down shake it all way round
-Ney L.; 9/22/2007
Editor:
Thanks, Ney L. for sharing that example with Cocojams readers. Thanks also for
including demographical information {where you learned this song, and who
performed it.
Btw, "Colored people" used to be a referent for those people who are now
formally called "African Americans" and who are also informally called "Black
Americans" {though the referent "Black American" may also refer to other people
of African descent beside African Americans. And, in Europe and Australia, for
instance, the word "Black" also refers to people of non-African descent.
Confused? Well, racial categories don't really make a lot of sense. But, if
you're interested in reading about the terms that have been used as referents
for African Americans, this article is a good starting place:
http://en.wikipedia.org/wiki/African_American
****
Little Sally Ann
{Version #1}
Little Sally Ann
sittin in the sand
a weepin and a cryin
for a nice young man.
Rise, Sally, rise.
Wipe your weepin eyes.
Now turn to the East
and turn to the West.
And turn to the very one
that you love best.
-Multiple sources, including Azizi Powell's childhood memories of Atlantic City,
New Jersey in the 1950s
****
Little Sally Walker {Version #2}
Little Sally Walker, an African-American version of a children’s game song (as
played by Anna Robinson in the mid 1950's; who is now in her 60's). Little Sally
Walker,sittin’ in a saucer,weepin' and cryin’cause nobody loves her. Rise Sally
rise wipe your weepin’eyes put your hands on your hip, and let your backbone
slip. Oh, shake it to the East; Oh, shake it to the West. Shake it to the very
one that you love the best. The game of Little Sally Walker is for ages 7 – 12
Here's a description of the action that accompanied this rhyme: Prior to song
starting- Girls form a circle; one girl is chosen to be “Sally” 1st line-
"Sally" sits down on the inside of the circle (as if sitting in a saucer) and
pretends to weep and cry; the rest of the circle walks counter-clockwise holding
hands and walking to the song’s beat 2nd line & line 3 -“Sally” remains inside
the circle but now rises to stand in the center part of the circle and does what
the rhyme is saying(wipes her eyes); the rest of the group is now standing still
and claps their hands and stomps their feet to the beat.. 3rd line & 4th line
-Sally now stops and puts her hands on her hip and moves her hip into a dip and
the girls in the circle who performed this rhyme stand still while "Sally" in
the middle performs a movement. As the rhyme progresses the children forming the
ring try to exactly imitate Sally's movements (they shake their hips to
movements the same time Sally does) on the words to the East the hips move to
the right, and on the words to the West the hips move to the left. -Still
standing in front of whoever Sally may stop in front of "Sally" continues doing
the same dance or movement of her hips that she did previously. 5th- On the
words you love the best Sally is standing still and facing the girl she stopped
in front of, now the game is over; the former “Sally” rejoins the ring, and the
new Sally immediately enters the center of the ring and the game begins again.
When both boys and girls play this game together the game takes on a little more
interest.
-Anna R.; 5/8/2008
Editor:
Anna R., thanks for sharing the words and the performance instructions of Little
Sally Walker as you remember them. My recollections in the 1950s in New Jersey
of the related circle game "Little Sally Ann" are similar to yours that children
older than 6 years old played this game. However, I think the usual ages for
girls and boys playing this game was somewhere around 6-9 years old. That said,
nowadays, my experience has been that "Little Sally Walker"/"Little Sally Ann"
and other circle games with songs are rarely played by children who are older
than pre-school ages. Also, it's been my experience in New Jersey and
Pennsylvania that children don't decide to play these games on their own.
Instead they are usually initiated by pre-school teachers, and, on rare
occasions, by parents at special events such as birthday parties for children
under six years old.
Ann R, what I found most interesting about your play instructions was that
"Sally" didn't cover her eyes and turn around while pointing so that she would
accidentally select the next person in the middle of the circle. I can imagine
that when girls and boys played this game together it would be more interesting
since a girl standing in front of a boy and picking him could imply that she
liked him {as more than a friend}. The same would be true if a boy who was the
center person stopped in front of a girl. By the way, what name was given to a
boy who stood in the center of the ring {circle}?
In my opinion, the accidental selection process is more democratic, since in the
purposeful selection process, a child's popularity is a big factor as to when
she or he is selected or even if she or he is ever selected to be the center
person. In contrast, with the accidental selection process, a person never knows
when she or he will be picked to be the center person since it's just by
happenchance that she or he is the person the center person is pointing to at
the end of the song. Furthermore, as a result of my experiences facilitating
after-school groups for children ages 5-12 years old, I found that some children
really don't like to be selected as the center person in these kind of
circle games because they are afraid of being the center of attention as so
often-in school and in other play activities-that results in being teased. The
real world of children is competitive in so many ways that we adults may not
realize. The center person's movements end up being another testing ground when
we adults might of thought of it as just a play opportunity. During the
after-school activities I facilitated, another child would quickly take the
place in the center of the ring if the child who was picked was reluctant to be
that center person. One of the joys of my experiences working with those groups
of children over time was seeing how certain children who had been reluctant to
face their peers in the center of the ring, eventually became eager to be the
center person. I believe this was so because no only did they gain confidence in
themselves, but, based on their experiences in the group, they knew that other
group members wouldn't tease them. This may have partly been because adult staff
made it known that their was zero tolerance for teasing, and partly because the
group had developed loyalty toward its group members.
Thanks again, Ann R.! Cocojams readers, what are your recollections about this
game and other circle games? Are these kinds of games still being played by
children in your community? Please send in examples and comments to Cocojams!
****
Little Sally Walker
Little Sally Walker
Sittin in a saucer
A weepin and a cryin for
a nice young man.
Rise, Sally rise.
Wipe your weepin eyes
Turn to the east and turn to the west
[And] turn to the one that you
love the best.
-Multiple sources, including Pittsburgh, PA in the 1970s
****
Little Sally Walker {Was Walkin Down The Street}, Version #3
Little sally walker little sally walker walkin down the street she didn't know
what to do so she stop in front of me and said hey girl do your thang switch hey
girl do your thang switch {you don't switch the second time oh and by do your
thang means to do a dance move}
-Ashley; 3/16/2008
Editor:
Ashley, thanks for sending in that example. Thanks also for including
information about how you and your friends perform this rhyme.
****
Little Sally Walker {Was Walkin Down The Street}, Version #2
I was a counselor at a
camp about three years ago, and the campers (good-natured high school students)
played a surprising amount of games during break time. Not surprisingly, they
weren't all innocent little rhymes. For example, Little Sally Walker has been
reincarnated! She's now a circle game, with the chant:
"Little Sally Walker,/walking down the street.
She didn't know what to do, so/she jumped in front of me and said:
'Hey, girl, shake that thing,/shake that thing like it ain't no thing.
Come on, girl, shake that thing,/shake that thing like it ain't no thing."
-LNL ; 01 Mar 04; Children's Street Songs;
http://www.mudcat.org/thread.cfm?threadid=4300#1114943
****
Little Sally Walker {Was Walkin
Down The Street}; Version #1
Little Sally Walker was walkin down the street.
She didn’t know what to do so she stood in front of me.
I said ooh girl do your thing.
Do your thing, Stop!
I said ooh girl do your thing.
Do your thing, Stop!
-African American girls {about 7-9 years old} Pittsburgh, PA
{North View Heights Public Housing Program}, 1999; collected by Azizi Powell,
1999
Editor:
Here's a description of the action that accompanied this rhyme:
Prior to song starting- Girls form a circle; one girl is chosen to be “Sally”
1st line- "Sally" walks around the inside of the circle; the rest of the
circle stands still and claps their own hands and stomp their feet to the song’s
beat {in re-creations of this rhyme I've directed children to move around the
circle counter-clockwise holding hands for this part of the rhyme}
2nd line & line 3 -“Sally” remains inside the circle but stands facing a girl
who is part of the circle and does a dance or movement like jumping jack; the
rest of the group continues to stand still and clap their hands and stomp their
feet {for re-created versions of this rhyme, for this line I've directed
children to stop circling and stand still while clapping hands and stomping
their feet to the beat}
3rd line-on the word “Stop!” Sally dramatically
freezes her movement
{the girls who performed this rhyme in 1999 stood still while "Sally" in the
middle performed a movement. When I've taught this rhyme to other children, I
direct the children forming the ring to try to exactly imitate Sally's movements
and then freeze their movements the same time Sally does.
4th line-Still standing in front of the same girl, "Sally" continues doing the
same dance or movement she did previously; see notation about my directions for
re-creation of this rhyme
6th- On the word "Stop!", the game is over; the
former “Sally” rejoins the ring, and the new Sally immediately enters the center
of the ring and the game begins again
Note: my "re-creation directions" are largely based on the way that I saw this
rhyme performed in 2005. The rhyme was exactly the same and the rhyme was
performed by basically the same age African American girls in the Garfield
section of Pittsburgh {which is quite a distance from the Northview Heights
section of that city}.
****
Little Sally Waters
I found this site while searching for the origin of "Shi Boo Ya Role Call" and,
although I'm not African-American, recognized many of these rhymes. Here's the
version of "Little Sally Walker" that I remember. Little Sally Waters Sitting in
a saucer Cry Sally Cry Wipe off your eyes. Turn to the East, Sally Turn to the
West, Sally Turn to the very one that you -like -best! ...I'm 60 years old and
learned [this] on the playground in Waterbury Connecticut in the early 50s.
-Ellen R.; 1/9/2007
Editor:
Ellen R., thanks for sending in this example of "Little Sally Waters". I
very much appreciate you also sending in an example of the jump rope rhyme "Down
In Mississippi". I posted that example on Cocojams' Jump Rope Rhyme page. Also,
Ellen R., thanks for including demographical information {your age, and where
you learned these rhymes}. In addition, thanks for also noting that you are not
African American but that you recognize many of the rhymes posted on Cocojams. I
am African American, and my initial purpose for starting this website was to
post contemporary {1950s to date} examples of African American children's rhymes
& cheers. However, I eventually expanded the scope of the children's rhyme/cheer
pages {and other Cocojams pages of rhymes, cheers, and chants} to include
contemporary examples of {mostly} English language rhymes. That said, I am very
interested in whether there are racial differences in the content, {words},
structure, and performance of children's rhymes, and cheers. I also am very
interested in how rhymes and cheers change or remain the same in different
countries and over time. I believe that other folks may also be interested in
this type of information now and in the future. Those are the reasons why I
encourage Cocojams readers to include demographical information.
Returning to your example of "Little Sally Waters", I want to note that "Little
Sally Waters" is related to "Little Sally Anne" & "Little Sally Walker".
Actually, "Little Sally Waters" was probably the original name for this family
of game songs. However, I've chosen to post these examples separately and not as
"version # 2 or 3 etc" of their "sister rhymes".
Btw: Cocojams readers can find examples of "Shi Boo Ya Role Call"
{given as Shabooya Roll Call" or some other similar spelling} on Cocojams
Cheerleading Cheers page.
****
London Bridge is Falling Down
First verse:
London bridge is falling down
falling down
falling down
London bridge is falling down
My fair lady.
Second verse: [this was sometimes omitted]
Take a key and lock her* up
lock her* up
lock her* up
Take a key and lock her* up
My fair lady.
Third verse
Here comes the hammer to chop off her* head
chop off her* head
chop off her* head
Here comes the hammer to chop off her* head
My fair lady.
* "Her" was changed to "him" if a boy was the one caught, However, even if the
"prisoner" was a boy, the ending was always "My fair lady".
-traditional; Azizi P.; memories of childhood, Atlantic City New Jersey, 1950s
Play instructions:
Two children stand apart, facing each other and holding their hands high over
their heads. The other children form a vertical line and move underneath
this "bridge" while the two children sing the song. When they sing the
words "chop off their head" for the first time, the two children's arms
come down and they "capture" the person who is going under the bridge at
that time. While they sing the rest of the second verse, the two people
move their arms in a swaying motion keeping the captured child in the
middle. At the end of the verse, the game starts again, with the captured
child taking the place of one of the people forming the bridge. Children
don't want to be captured, so they move faster when the song gets close to
the first "chop off her {or his} head line.
See more information
about this song on this Mudcat thread:
http://mudcat.org/thread.cfm?threadid=111431&messages=43#2347958
RE: Mention of Death in Children's Rhymes
M,N
Mister Rabbit
Call: Mister Rabbit, Mister Rabbit, your ears are
mighty
long!
Response: Yes, my Lord, they put on wrong.
Group:
Every little soul must shine, shine, shine
Every little soul must
shine!
Call:
Mister Rabbit, Mister Rabbit, you’re in my cabbage
patch!
Response:
Yes,
my Lord, I won’t come back.
Group: Every little soul must shine, shine, shine
Every little soul must shine!
Call: Mister Rabbit, Mister Rabbit, your tail’s mighty white.
Response: Yes,
my Lord, I’m goin’ out of sight.
Group:
Every little soul must shine, shine, shine
Every little soul must shine!
Although
“Mister Rabbit”
is
included in several older books on American folk songs, its African
American origin is rarely noted. The
song is also rarely written in a call & response style. Yet, I think that this style fits it best.
This
song is actually a story about a rabbit who is caught by in a farmer’s vegetable
garden. How does he explain
what he's doing there? How
quickly can he think up responses to the farmer’s comments? How
does he get away from the farmer to the safety of the bushes?
I'm absolutely no expert on these old, old games. But I vaguely remember
reading an article that I unfortunately can't find that talked about these
rabbit songs being sung as a prelude [before] children played running and
chasing games. If that was so, then one child would be chosen as the
farmer and another child would be chosen as the rabbit. The "farmer" and
the "rabbit" would chant their respective lines and at the end of that
song the farmer would chase the rabbit. If the rabbit arrived at a
previously designated place, he or she was safe, and another rabbit was
selected [and perhaps another farmer].
This may or may not be true. But it sounds right to me.
:o)
I like to think about the hidden, deeper meanings of children's rhymes and
game songs.
This song is one of several rabbit songs that used to
be very well known among African American children {and probably other
American children}.
However, few African American children in Pittsburgh, Pennsylvania
(or I would imagine any other urban area) know this song now.
Most urban children may have never seen a rabbit in real life besides in the petting zoo. Few
urban children know what a cabbage patch is.
We might be more familiar with the term “small vegetable
garden”, but that doesn’t mean that we’ve ever seen one.
When a song’s references become
outdated or foreign to a population, people are less
likely to sing the song, and may eventually forget it all together.
It seems to me that “Mister
Rabbit” may have been more than entertainment.
Or, to put it another way, the type of entertainment that enslaved
Africans taught their children also helped them develop the survival skill
of being mentally alert and knowing how to talk their way out of trouble.
Given the oppressive nature of slavery and post slavery societies,
being able to talk your way out of trouble was sometimes a matter of life
and death.
“Thinking
fast on your feet” was certainly a survival skill that enslaved people
needed and it is still needed today.
-Azizi Powell, [written mostly in 2003]; posted 5/22/2006 in response to
Babbette's 5/22/2006 request.
Thanks, Babbette!
Also see another rabbit song "Rabbit In The Pea Patch"
that is presented "down thread" [below on this page]
O,P
Punchanella {Version #2}
There's one that my niece does with her friends all the time. It's called
punchanella. It goes: (the girls form a circle, and then one girl goes in
the middle of the circle, so all attention is on her) Look who's here
punchanella punchanella, look who's here, punchanella in the shoe. Oh what
can you do punchanella punchanella, what can you do punchanella in the
shoe (this is when the girl in the middle of the circle does whatever she
wants, like a dance etc.) Oh we can do it to punchanella punchanella, we
can do it to punchanella in the shoe, (this is the part when the girls
that formed the circle imitate what the girl in the middle was doing) Oh
choose your partner punchanella punchanella, choose your partner
punchanella in the shoe (this is when the girl puts one hand over her
eyes, and spins around in the circle) S (S)- T(T) - O(O)- P(P) spells STOP
(this is when the girl that was in the middle stops spinning, and whomever
she is in front of is the next to go in the middle of the circle, and it
starts over again)
-Kia; 6/4/2008
Editor:
Thanks Kia for sending in this example of a singing game that your niece &
her friends play. Thanks, also for remembering to include information
about how they play this game.
****
Punchanella {Version #1}
Hi, I was checking out this site and got so excited reading all of these
cheers. It is so cool to see the cheers I did as a child in Birmingham, AL
and see how differently they are done in different parts of the county. I
am 26 and I try to pass down as many cheers as I can remember to my nieces
and my daughter (8,6,and 2). Here's one: Look who's here punch-a-nella,
punch-a-nella Look who's here punch-a-nella in the shoe Oh what can you
do, punch-a-nell, punch-a-nella What can you do, punch-a-nella in the shoe
We can do it too, punch-a-nella, punch-a-nella We can do it too, punch-a-nella
in the shoe Now choose your partner, punch-a-nella, punch-a-nella Choose
your partner, punch-a-nella in the shoe We would all stand in a circle and
one person would be in the middle and we would clap and stomp. The person
in the middle would perform a dance during the line "oh what can you
do...", then the group would imitate that dance on the next line. Then the
person in the middle would cover their eyes and spin around during the
line " now choose your partner...." and whomever they landed on at the end
of the rhyme went into the circle next.
-Joi; 3/23/2008
Editor:
Hello, Joi! I agree with you that it's cool to learn about different
versions of children's game songs, rhymes, and cheers. Thanks for sending
in this example and others that I've posted on Cocojams. It's great that
so many people are recognizing that these examples are part of the folk
cultures that deserve to be collected, preserved, read, studied, and
performed. Best wishes!
Q,R,S
Rabbit In The Pea Patch
Rabbit in the pea-patch, shoo-lye-love [sing sentence 5x]
Shoo-lye love, my darling
You love Miss Sally [substitute another name;5x]
Shoo-lye-love, my darling
You stole my partner, shoo-lye love [5x]
Shoo-lye-love, my darling
But I’ll get another one, shoo-lye-love [5x]
Shoo-lye-love, my darling
Pretty as the other one, shoo-lye-love [5x]
Shoo-lye-love, my darling
-traditional African American children's game song ; recorded in Old
Mother Hippletoe record; posted by Azizi, 2004
Editor:
“Rabbit in the Pea-Patch” is one of a number of rabbit songs that used to
be well known among African Americans, particularly those from the Southern part
of the Untied States. Few urban African Americans, from the South or the North
know these rabbit songs anymore.
A “pea patch” is a small garden where peas are grown. This song doesn’t tell any
story. It is actually just an excuse for dancing. Another name for couple dance
songs such as these is “play party” songs. Some African American and
Anglo-American religious groups that were opposed to couples dancing permitted
couples to hop and skip around to songs such as this one, because they could
consider it a game instead of a dance. According to Kate Rinzer, author of the
Old Mother Hippletoe record’s notes, this song was sung in unison by
people who were watching the game being played. Boy and girl couples performed
this “play party game” by skipping hand in hand around a lone boy. The boy would
eventually “steal” a girl of his choice from one of the couples. The person who
is now alone becomes the new “rabbit in the pea-patch”.
****
Seven Eleven
7-11 and ah 42.
How many pop-ups
can you do?
Wiiith ah 1- 2- 3- 4 (The word “with” is
spoken with emphasis
and drawn out)
5-6-7-8.
7-11 and ah 42.
7-11 and ah 42.
How many bongos
can you do?
Wiiith ah 1, 2, 3, 4.
5, 6,7, 8.
7-11 and ah 42.
7-11 and ah 42.
How many jumping jacks
can you do?
Wiith
ah 1, 2, 3, 4.
5, 6,7, 8.
7-11 and ah 42.
Repeat
the rhyme as many times as you wish, each time substituting a new movement and
doing the movements starting from “1” to the count of “8” {or any number you
wish to end with.
-African American girls & boys, about 8-12 years {Ammon Recreational
Center; Pittsburgh, PA} Collected by Azizi Powell, 1999, posted by Azizi, 2004
Editor:
This rhyme, like a number of other Cocojams rhymes and cheers, was collected as
a result of cultural presentations my associates and I conducted in 1999 for
groups of children who reside in Allegheny County {Pittsburgh area} public
housing developments. As part of our presentation on African American
children’s recreational music, we asked the children to sing and perform any
game songs, handclap rhymes and cheers that they knew. The children liked
the fact that we audio taped their performances and played it back to them.
This text
version of “Seven Eleven” can’t possible capture its catchy tune and the energy
that the girls and boys put into its performance. You need a videotape to
do it justice.
“Pop-ups” was the children’s term for the exercise commonly called “sit-ups”.
“Bongos”
was the children’s term for a rhythmical side-to-side hip shaking motion.
“Jumping Jacks” is commonly used term for an exercise that
combines clapping your hands above your head while you jump with your feet apart
and then together.
What does
"7 11 and ah 42 mean? I failed to ask the children this question. “7-11”
is the name of an all-night convenience store in Pittsburgh. I guess the
store’s name means that it is open from 7 o’ clock in the morning to 11 o’clock
at night. But I'm not sure that this anything at all to do
with this rhyme. It's possible that the number "42" was used because the
#2 rhymes with the word "do". In that case, any number ending in two could
have been used. Maybe the words don’t mean anything but just sound good
together.
Adults always want to know the reasons for things. Maybe we should just
accept this as it is and just chant it for enjoyment and exercise!
T, U, V
This Is The Way To Wash Daddy's Clothes
This is the way to wash daddy's
clothes, swish-swash, swish-swash, (bring imaginary clothes to your nose and
sniff loudly, say "Ahhh!", smile, and lay the imaginary clothes down). Repeat
with mommy's clothes, brother's clothes, sister's clothes (add grandma, grandpa,
aunt, uncle, and cousins if you like). It's always the same until the last
verse: "This is the way to baby's diapers, swish-swash, swish-swash" {the punch
line is to make a terrible face when you sniff and start rubbing them again with
a hurried "swish-swash, swish-swash"}.
-Ann N.; 4/29/2007
W,X,Y,Z
Wallflower
{Version #2}
The version my mother sang was -
Wallflowers wallflowers growing up so high
All you young ladies will surely have to die
[Except ----, she's the fairest of them all;
She can dance, she can sing,
And she can wear a wedding ring ]*
Turn, turn, turn again, turn your back to the wall again.
* I made the middle lines up, must have been something like that
A wallflower is an English flower (related to cabbage and radish) that can grow
with very little soil, or even out of the cracks of old walls
A wallflower is also a girl without a partner at a dance.
Do you think that the link came before or after this game with its suggestion of
dieing an Old Maid?
-Mo The Caller; 6/11/2006;
http://www.mudcat.org/thread.cfm?threadid=100061 ; Water Wallflower &
Brickwall Waterfall
****
Waterflower {Version #1}
This girl/boy ring game with one person in
the center is from Altona Trent John's 1944 book Playsongs of the
Deep South.
Water-flower
Water-flower, water-flower,
Growing up so tall,
All the young ladies must surely, surely die;
All except Miss 'Lindy Watkins,
She is everywhere,-
The white folks say, the white folks say,
Turn your back and tell your beau's name.
Doctor, Doctor can you tell
What will make poor 'Lindy well?
She is sick and 'bout to die,
That will make poor Johnnie cry!
Marry, marry, marry, quick!
'Lindy, you are just love sick!
Johnnie is a ver' nice man,
Comes to the door with hat in hand,
Pulls off his gloves and show his rings,
'Morrow is the wedding-day.
****
click here to to submit examples,
comments, and questions about game songs & other movement rhymes.
****
Don't forget to visit Jambalaya!,
Cocojams' page for readers' comments & questions.
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