It may seem curious to some to talk about circle games these days. In times when these manifestations of spontaneous popular culture are so diminished in presence. On the streets, in the squares, in backyards, it is rarer to see or hear from children’s mouths those songs that, in the simplicity of their melodies, rhythms, and words, hold centuries of wisdom and the condensed richness of popular imagination.
However, while they may not be in high demand, they are also not extinct. It is true that many times parts are omitted or forgotten and transformed, yet they survive the computer age.
The fact is that all this context does not change the intrinsic valuable content of the songs and circle games. They continue to serve as wonderful pretexts for children to experience their bodies, language, and to discover themselves while revealing themselves to others and integrating into social life.
From a pedagogical point of view, these children’s games are considered complete: the child naturally exercises their body, develops reasoning and memory, and stimulates a taste for singing. Poetry, music, and dance unite in a synthesis of essential elements for education. It is a movement that is part of their efforts to understand the world, making them capable of dealing with even complex problems that they sometimes find difficult to comprehend.Circle Games and Folklore
The circle songs are part of the set of anonymous songs that belong to spontaneous culture, stemming from the life experiences of any human community.
The circle games refer to folkloric games danced or sung, presenting simple melodies and choreographies. Many of them involve children forming a circle and holding hands, but there are variations, such as seated circle games, line games, marching games, clapping games, catching games, hiding games, including also calls and songs to select players. The children’s circles in Brazil have Portuguese, French, and Spanish origins. However, with the power of singing and listening, they have become Brazilian, being as much ours today as if they were born here.
Folkloric manifestations arise from creative impulses, both individual and collective. Hand in hand, mouth to mouth, it is made: each one improvises, recreates, leaves their mark, introduces new patterns. Here are some circle songs:
Father Francisco
(Father Francisco stays outside the circle while everyone sings)
Father Francisco entered the circle
Playing his guitar!
Da…ra…rão! Dão!
Here comes your delegate
And Father Francisco went to prison.
(Father Francisco approaches the circle, shaking his hips, and chooses a partner to replace him.)
As he comes
All shaken up
He looks like a clumsy doll.
(The game restarts)
Little Lamb, Big Lamb
(The circle is formed, everyone sings following the commands of the lyrics)
Little lamb, big lamb, neirão, neirão
Look to the sky, look to the ground, to the ground, to the ground.
I will send, Our Lord, Lord, Lord
For everyone to sit down.
(Everyone sits down holding hands)
Little lamb, big lamb, neirão, neirão
Look to the sky, look to the ground, to the ground, to the ground
I will send, Our Lord, Lord, Lord
For everyone to stand up.
(Everyone stands up holding hands)
Little lamb, big lamb, neirão, neirão
Look to the sky, look to the ground, to the ground, to the ground
I will send, Our Lord, Lord, Lord
For everyone to kneel.
(Everyone kneels holding hands)
Little lamb, big lamb, neirão, neirão
Look to the sky, look to the ground, to the ground, to the ground
I will send, Our Lord, Lord, Lord
For everyone to stand up.
(Everyone stands up holding hands)
Little lamb, big lamb, neirão, neirão
Look to the sky, look to the ground, to the ground, to the ground
I will send, Our Lord, Lord, Lord
For everyone to lie down.
(Everyone lies down on the ground and lets go of their hands)
Little lamb, big lamb, neirão, neirão
Look to the sky, look to the ground, to the ground, to the ground
I will send, Our Lord, Lord, Lord
For everyone to stand up.
(The two biggest and strongest girls stand up and help the others to jump up in one go, holding their hands. The one who jumps the highest goes to heaven)
Teresinha of Jesus
(Teresinha stays in the center of the circle and everyone sings)
Teresinha of Jesus
Had a fall and went to the ground
Three gentlemen rushed
All three with hats in hand.
The first was her father, the second her brother, the third was the one Teresa gave her hand to.
(The girl in the center approaches another in the circle, who will be the next Teresinha, and sings)
From the orange I want a segment
From the lemon I want a piece
From the prettiest brunette
I want a kiss and a hug.
(The two hug and restart the game)
March Soldier
March Soldier, paper head
If you don’t march right, you’ll be sent to the barracks
The barracks caught fire, the police signaled
Wake up, wake up, wake up, the national flag
Pop Candy That Hits
Pop candy that hits
Pop candy that has already hit
Who likes me is her
Who likes her is me.
Pop candy that hits
Pop candy that has already hit
The girl I liked
Did not like me as I did.
Samba Lelê
Samba Lelê is sick
Has a broken head
Samba Lelê needed
About eighteen slaps
Samba, samba, Samba ô Lelê
Step on the hem of the skirt ô Lalá (REPEAT)
Oh! Pretty brunette, how do you date?
Put the handkerchief in your pocket, leave the tip out
Oh! Pretty brunette, how do you get married
Put the veil on your head, then get out of the house
Oh! Pretty brunette, how do you cook
Put the pot on the fire, go talk to the neighbor
Oh! Pretty brunette, where do you live?
I live on Praia Formosa
I say goodbye and go away.
The Clove and the Rose
The clove fought with the rose
Under a balcony
The clove got hurt
And the rose was torn apart.
The clove got sick
The rose went to visit, the clove fainted, the rose began to cry.
Little Melon Chapel
Little melon chapel is from Saint John
It’s from clove, it’s from rose, it’s from basil
Saint John is sleeping
Don’t wake him up!
Wake up, wake up, wake up, John!
Circle, Little Circle
Circle, little circle,
Let’s all circle around.
Let’s turn around,
Round and round we’ll go.
The ring you gave me
Was glass and broke,
The love you had for me
Was little and has ended.
That’s why, Mrs. Rosa
Come inside this circle,
Say a pretty verse
Say goodbye and go away.
In This Street
In this street, in this street, there’s a grove,
That is called, that is called, Solitude
Inside it, inside it lives an angel, who stole, who stole my heart.
If I stole, if I stole your heart, it’s because you stole mine too, if I stole, if I stole your heart,
It’s because I care for you so much.
If this street, if this street were mine,
I would order, I would order it to be paved,
With little stones, with little stones of diamond,
For my, for my love to pass.
I Threw the Stick at the Cat
I threw the stick at the cat, meow meow,
But the cat, meow meow,
Didn’t die, meow meow,
Mrs. Chica, meow meow,
Was surprised, meow meow,
By the scream, by the scream that the cat gave, Meow!!!!!
I Went to Tororó
I went to Tororó, didn’t find water to drink,
Found a beautiful brunette
That I left in Tororó.
Enjoy it, my people
For one night is nothing,
If you don’t sleep now
You’ll sleep at dawn.
Oh! Mrs. Maria,
Oh! Mariazinha, come into this circle.
Or you’ll be alone!
I won’t be alone
Nor will I stay!
Because I have Pedro
To be my partner!
Little Foot
Oh, put it here
Oh, put your little foot here,
Your little foot right next to mine (REPEAT)
And then don’t go saying
That you regretted it! (REPEAT)
Source: Benita Michahelles – Monograph presented to the Music Therapy Course at the Brazilian Conservatory of Music;
Source: “My Toys”, Figueiredo Pimentel, Quaresma Bookstore, 1959
Source: “Circle Songs”, Leda Maffioletti, Jussara H. Rodrigues