Tag Archives: chant

Band Mantra

Text:

“We we pled to serve as masters of goodwill for Tucker High School. presenting ourselves as a showcase of excellent, elegant, sophistication, spirit of the core, and dignity. Love the band. 

So that’s what we had to say. At the end of every single practice. And so it was just a reminder —those are all the things we have to be if we want to, like, wear our bands, colors, or our uniform. “

Context

The informant was a member of her high school marching band for five years, and they recited the mantra at the end of every practice. She describes her time in band as a deeply formative and positive experience. She explained that the mantra was an effective way to reinforce their collective identity and shared standard of conduct, with the students’ repetition and time together as a cohort making it meaningful.

Analysis

This mantra functions as a form of institutional oral tradition — one that channels group identity and behavioral norms through repeated, ritualized speech. Marching band culture is colloquially known for its intensity, precision, and the necessary love of the labor. The matra serves as a kind of folk covenant: a verbal agreement among members to declare who they are and how they represent themselves as a unit. It retains psychological resonance; in particular, the sign-off “Love the band” is effective, direct, and unanimous to internalize. It suggests that folk speech embedded within institutional settings can extend beyond the institution itself, becoming part of their identity and continuing even after the collective context has ended.

Igbo Kwenu

Text:

“I’ve noticed it’s really popular in moments of gatherings, especially in moments of sorrow, or in a time where encouragement and bravery are really needed, or just when there’s a lot of difficult energy around — it’s just a way to rally and show support. It usually starts with a male of some sort, and he’ll say it, and then people will join in little by little, and by the time he repeats it for the last time, the whole crowd has said it: Igbo Kwenu.”

Context:


Igbo Kwenu is used as a rallying call at a variety of communal occasions — funerals, graduations and celebrations, the informant said. She first learned it from her Nigerian family, but has seen it used by older people in the community and children of immigrants in the United States. She recited this to her at her school graduation, to encourage her and lift her spirits. “Igbo Kwenu” goes beyond a literal translation, as she stressed that this would not fully capture its meaning, and it serves as an invocation of the collective Igbo identity and resilience.

Analysis:


Igbo Kwenu is a call-and-response oral tradition that ritually builds community in real time. The stacking structure — one voice, then another, until the whole crowd is joining in — is a manifestation of the social solidarity the phrase is meant to celebrate. It is not only expressive but performative in the folkloristic sense – to say it together is to act together. The phrase’s most versatile quality is that it can move across emotional registers; it can be used in grief and in joy, in crisis and in triumph. Its primary function is not to name a particular feeling but to invoke the community itself as a source of strength and support. This versatility is especially important to the diasporic life events in Igbo communities. Igbo Kwenu becomes a folk performance on the move, one that proclaims cultural identity and group belonging in any context.

Marine Jody

Nationality: American
Age: 20
Occupation: College Student
Language: English

Text: 

(Each line repeated once by leader and once by platoon)

Around her head, she wore a yellow ribbon

She wore it in the springtime, the merry month of may

And if you asked her why the hell she wore it

She wore it for that young Marine so far, far away. 

Far away

Far away

She wore it for that young Marine so far, far away

Around the block, she pushed a baby carriage

She pushed it for that young Marine so far, far away.

And if you asked her why the heck she pushed it 

She pushed it for that young Marine so far, far away.

Far away

Far away

She pushed it for that young Marine so far, far away

(3rd verse non PG- song ends after this verse)

Behind the door, her daddy kept a shotgun

He kept it in the springtime, in the merry month of May

And if you asked him why the hell he kept it

He kept it just to blow that young Marine’s ass away

Far away

Far away

He kept it just to blow that young Marine’s ass away

(3rd verse PG- song continues to verse 4)

Behind the door, her daddy kept a shotgun

He kept it in the springtime, in the merry month of May

And if you asked him why the hell he kept it

He kept it for that young Marine so far, far away

Far away

Far away

He kept it for that young Marine so far, far away

(4th verse, slowing)

Around his grave, she laid the pretty flowers

She laid them in the springtime in the merry month of May

And if you ask her why the hell she laid them

She laid them for that young Marine so far, far away

Far away

Far away

She laid them for that young Marine so far, far away

Context:

“This is my favorite jody that I learned in high school in JROTC. It’s passed down by a Prior, which is a Cadet who has been in the program at least for a year, so she was like a year older than me, I was a freshmen and she was a sophomore. And it was her favorite jody and it’s, according to her, originally a Marine jody. Jodies are- I guess I should explain what Jodies are. Jodies are songs you sing while marching, kind of sing, they’re kind of sing songy, but they’re yelling and they’re call and response. So you yell a line and the platoon repeats a line and it’s while marching. A lot of them are story centered, so I want to share one that’s story centered. I love this jody because it’s sad, it tells a story.

“I said young Marine, but when we would say it around our senior Chief, we would have to say Sailor because we weren’t allowed to sing Marines jodies because we were in the Navy unit. And each of the lines is repeated back, I just did it straight through”

“And then the third stanza, there’s two versions. Also, I said hell, but we said heck when instructors were around. And the third one, there’s two endings, one is non PG and one is PG. 

Analysis:

The jody itself is a chant, meant to (in the case of this informant) draw people together within their platoon. Especially as the informant mentions how she was taught this by a classmate in the grade above her, one can see this folk song as a form of mentorship. Learned from the mouth of a more senior individual, the jody is passed between them and gives a sense of identity within the group. The informant even mentions how important the specific branch is. She wasn’t allowed to sing this as a Marine jody normally because they were the Navy unit and therefore could only sing Navy songs. Specificity is important to the practice of this jody even though the rest of the lyrics are unchanged by a change in branch or between platoons. 

Additionally, we can see the influence of some of Olrick’s epic laws within the narrative. Repetition of the chorus and of structures make the stanzas easier to learn, and the chorus itself has three lines. Most ‘scenes’ are between the woman and the soldier, with one between the soldier and the woman’s father. All detail how two characters relate to each other, keeping the story straightforward and in line with the expectations of tales and folk songs. 

Chants for Good Luck

Context:

H is a spring admin freshman at USC, studying Music Industry. H grew up in Taiwan, but moved when she was 8 to San Jose. 

Text:

H: “Whenever I encounter something bad, I basically chant like something from Buddhism. It goes like ‘大慈大悲, 救苦救难, 管旭音菩萨’ (Pinying: da ci da bei, jiu ku jiu nan, guan yin pu sa; Translation: great mercy and great compassion, save the suffering, guan xu yin bodhisattva). It’s basically what I chant so they can give me power, something like that. I think it’s just telling them I’m in trouble, it’s not asking them to come to me, but I feel like they’re going to do something about it and that’s why I do it.”

Analysis:

H’s chant is something along the lines of a conversion, a superstitious charm that negates or balances out an event. In H’s case, the chant is religious, referring to a god in Buddhism, but meant to offset something bad in her life using her god’s power. Her chanting is ritualistic, in the sense that H will do it on the principle or possibility that her god may be listening, while not knowing if anything will change. Just the act of chanting, the practice of a charm that’s believed to give good fortune, makes her believe that good will come, which is a faith nearly more powerful than the tangible confirmation that there really is a god up there, in my opinion. H creates a sense of order for herself in the midst of a crisis or hardship through this learned chant, and always repeating it to herself, she maintains faith that her chant comes true. Essentially, her ritual chant is believed to bring good luck for her, therefore it does bring good luck.  

High School Marching Band ‘Flute Salute’

Nationality: American
Age: 22
Occupation: Student
Residence: Los Angeles, CA and Chicago, Il
Performance Date: 2/18/23
Primary Language: English

Informant Background:

My informant RA is a 22-year-old senior at USC and a member of the Trojan Marching Band. She was also a flute section leader in her high school marching band in Chicago, Illinois.  

Tradition:

RA: “It was just something we would do at the end of every rehearsal. Like we’d get, we’d meet up with the section after the band director dismissed us and just like give announcements like we do in the TMB and then we would all do our little cheer when we were holding our flutes and then we would say:

Row. Row. Row. Row.

Kayak.  (the word is elongated to ‘Kaayyaaak’)

Flute Salute.”

[With each “row”, the person speaking will move their flute side to side in a motion mimicking paddling. While saying “kayak” the person will change to move their flute horizontally in front of themselves and dip each end left to right in a motion mimicking kayaking. When saying ‘flute salute’ the person will thrust their flute into the air twice with their dominant hand.]

RA: “Typically, the section leader would start [the chant] and then the whole section would join in.”

Analysis:

The ‘flute salute’ chant is a fun unifying activity for the flute section of a high school marching band. The chant likely serves the purpose of creating section pride by using specific gestures that only a flute (or a clarinet) could do easily. The chant is also a fun way to end practice helping to ensure that flute members keep their interest in the band and section. Marching band sections spend a lot of time practicing with each other so it is crucial for the people within each section to get along and, at least, partially enjoy their time in the band. Chants and other unique quick activities that solidify the status of a section as a whole are therefore so important.