Singing game

Singing games began to be recorded and studied seriously in the nineteenth century as part of the wider folklore movement.

They have been criticised for focusing on rural society at the expense of urban, and an obsession with recovering what they considered “authentic” and original, but “disappearing,” verse from adults while disregarding contemporary practice by children.

[1] Their extensive studies refuted the idea that the traditions of singing games were disappearing in the face of social and media change, and instead suggested adaptation as well as primary development.

[1] Their work was highly influential, and efforts were made to replicate it in a number of locations, including America, where Herbert and Mary Knapp produced One Potato, Two Potato: the Secret Education of American Children (1976) and Finland which saw Leea Virtanen [fi]'s Children's Lore (1978).

Wider anthropological-based studies include Helen Schwartzman's Transformations: The Anthropology of Children's Play (1978).

Early folklorists like Lady Gomme tended to provide written descriptions of games, lyrics, and occasionally musical notation of tunes.

[3] Some children's singing games may have their origins in circle dances, including "Here We Go Round the Mulberry Bush".

[4] Perhaps the best known of wedding ring games, where players are chosen for various roles in married life, from a circle is "The Farmer in the Dell".

A variety of roles have been attributed to singing games, including exploring language, allowing acceptable criticism and to regularise and ritualise play and other behaviour.

[9] Recently Iona Opie has noted that singing games in Britain have become virtually the preserve of girls.