JM: Lemonade (Up Down Clap)
Iced Tea (Up Down Clap)
Coca-Cola (Up Down Clap)
Pepsi (Up Down Clap)
Lemonade (Up Down Clap)
Crunchy Ice (Up Down Clap)
Sip it once (Up Down Clap)
Sip it twice (Up Down Clap)
Turn around (Turn around)
Touch the ground (Touch the ground)
Kick your boyfriend out of town!
Pick your nose
Strike a pose
Instructions to play this game:
This game is played with two people who have to face each other. In order to play this game you have to know the two main clapping motions that are employed, the “Up Down Clap” and the “Triple Clap”.
The “Up Down Clap” is done while reciting each line of the song. Players raise their left hands, with their palms down, and lowering their right hands, with their palms up. They clap by bringing down their left hands and bringing up their right hands, until each one of the players’ hands meet those of their partner’s moving in the opposite direction. They then continue in to reverse their hands and clap the other way. For this part the players being with their right hands high and left hands low.
The “Triple Clap” is done between each line of the first verse only. In order to do this, all that the players have to do is clap their own hands together three times consecutively.
At the end of the game is when many forms of variations come in, where you would perform whatever action the song tells you to do. For this variation specifically you would turn around, touch the ground, kick the air, pretend to pick your nose, strike whatever model pose you feel like and freeze for a few seconds.
This game is played with another person while you are facing each other and it is usually played amongst or with children. I collected this piece from my younger sister who said she learned this game and song at school. She said that she remembers it because at recess there is not much to do so her and her friends use it as a way to occupy themselves.
This game is unique in the sense that is has so many variations that I have encountered over my 21 years of life and this piece that I collected is vastly different from the one I used to play as a kid. I believe that this variation of the game has formed from combinations of multiple variations of the game. Although the gestures, hand movement and mains structure of the song has stayed the same there are many variations to the words of the song. I think these variations occur over time because people from different regions who move and go to different schools share their variation of the game and then this variation gets adopted by some individuals while the ‘original’ variation continues to be told by others. I think at that point, it is the person who decides which variation they like better and whichever one it is will be continued to be sung and played by them with other people who like the same variations.
One of the reasons that children lore is constantly adapted and formed according to Jay Mechling is as the child’s primary strategy for being antitethical in the world. Although adults play sometimes play is an especially legitimate activity for children which is why they have categorized and created folklore around play and games. Since this play is not for real and not taken seriously by adults most of the time, children are able to explore themes and ideas that they usually are not able to. For example, in this version if you analyze the lyrics carefully there is the mention of one “kicking their boyfriend out of town”. I believe this version was created as a way to address the relationships and bonds with the opposite gender forming and that they may not be able to talk about with their parents. I also believe that this adaptation was spread between children and continued to be spread between children of an older age because with the boyfriend line it deals with undertones of puberty, sexuality and sex which are all things that are epic children are usually forbidden to talk or thing about. Variations in these games and songs also play with this idea because usually a variation would be created as a way to address issues that children may be having to deal with at one point in time that children a century ago never had to think about.
The fact that most children want to be at the center of knowledge with adults also affects the sharing, creation and variation fo children’s lore. When performing children’s lore, children violate the rules that were imposed upon them by adults acting as authority figures as a way to learn say rules. They explore the idea and concept of innocence by creating lore that can be analyzed as having some of the most uncomfortable and even disturbing topics that children are faces with in their daily lives.
To summarize, certain variations of children’s lore like this Lemonade Hand game song are created as a way of addressing the oppression that adults put onto kids at such a young age. Children understand that this is all play and know that adults assume the same, so they feel safe when broaching the “no-go zones” and issues that they would not feel comfortable talking about in daily life or are not allowed to talk about. By also creating folklore and breaking the rules that are not supposed to be broken, children show violation of rules as a way to learn and understand them. All of these reasons can be used to explain why children’s folklore and games continue to be passed along with each other and why variations of the fames continue to be found over the years of them being played.
For another children folk song that has been adapted into a game (jumprope), see “Children’s Folklore” Folk groups and Folklore Genres An Introduction, by Jay Mechling, 1986, pp. 101–102.