Indian Yell
The Cuerba brothers, both Bedans, composed the Indian Yell in 1947 after the liberation from the Japanese empire. The Indian Yell was initially solely performed on drums accompanied by cheers from the students. However, this made the cheer somewhat lacking in power and needed something to rejuvenate the audience. So they changed the sound of the yell and incorporated a horn section. Accompanied by the tomahawk chop, the Indian Yell became more lively, intimidating, and full of spirit.
The Indian Yell is San Beda's romanticized version of the Indian war whoop. It mimics the native Indian war chants and vocalization techniques designed to intimidate the opponent. North American Indian war chants are verbalization of tunes that implore the great spirits to help them in battle. The romanticized Bedan Indian Yell is believed to have been inspired by the Plains Indian.
The Indian war whoop also gave rise to various derivative chants most especially the Lion's Roar. The Lion’s roar, with the simple "Wooohooo", also mimics primitive chants of Native American Indians. This is an indirect offspring of the Wahoos started by both Dartmouth College and the University of Virginia in the 1890s. Bedans popularized this aboriginal Native American form of chanting in the Philippine collegiate league and has spawned variations now used by many other schools.
Read more about this topic: San Beda College, History of San Beda College, School Traditions
Famous quotes containing the words indian and/or yell:
“Having resumed our seats in the canoe, I felt the Indian wiping my back, which he had accidently spat upon. He said it was a sign that I was going to be married.”
—Henry David Thoreau (1817–1862)
“You don’t hit a child when you want him to stop hitting. You don’t yell at a children to get them to stop yelling. Or spit at a child to indicate that he should not spit. Of course, you want children to know how to sympathize with others and to “know how it feels,” but you ... have to show them how to act—not how not to act.”
—Jeannette W. Galambos (20th century)