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"Pata Pata"
Artwork for German vinyl single
Single by Miriam Makeba
from the album Pata Pata
B-side"The Ballad of the Sad Young Men"
Released25 November 1967
Recorded1967
Length3:10
LabelReprise
SongwritersMiriam Makeba and Jerry Ragovoy
ProducerJerry Ragovoy
Miriam Makeba singles chronology
"Malaika"
(1965) 		"Pata Pata"
(1967) 		"Malayisha"
(1967)
Alternative release
A-side label of US vinyl single

"Pata Pata" is an Afro-pop dance song popularized internationally by South African singer Miriam Makeba. Its composition is credited to Makeba and Jerry Ragovoy. Her most popular recording of "Pata Pata" was recorded and released in the United States in 1967.[1][2] The song is considered by many to be Makeba's signature hit and it has since been recorded by many artists.

Origins

[edit]

The song's title "Pata Pata" means "touch touch" in the Xhosa language, in which the song was originally written and sung.[2] "Pata Pata" was also the name of a style of dance that was popular in the shebeens of Johannesburg's Townships[3] in the mid-1950s. The dancer crouched before his partner and patted her body to the rhythm of the music as he rose up and she spun around, making hip circles.[4][5] In another version of the dance,

The male dancers stand in a row with their arms extended out to the front, palms to the floor, while the women pat each in turn in a manner resembling security search body-frisking, after which the men do the same to the women.[6]

Makeba's "Pata Pata" was not the only song inspired by the "Pata Pata" dance.[7] Her "Pata Pata" melody was based on an instrumental "Phatha Phatha" by Shumi Ntutu and Isaac Nkosi, which was in turn based on "Noma Kumnyama" by Alson Mkhize.[7] The popular 1956 "Ei Yow Phata Phata"[8] by Dorothy Masuka was distinctly different from Makeba's,[7] but in later years, Masuka made her own recording of the version made popular by Makeba. Masuka claimed that she herself had written it.[9]

Recordings

[edit]

Makeba's "Pata Pata" was originally sung, recorded, and released in South Africa by Makeba's girl group The Skylarks[10] in either 1956[11] or 1959.[7]

In 1967, after establishing a successful singing career in the US, Makeba re-recorded the song with Jerry Ragovoy producing, and with an added spoken part in English. Ragovoy was then billed as the co-writer of the words and music.[12] It was released in the United States on Makeba's studio album of the same name.[2] It was also released as a single and peaked at #12 on 25 November 1967 on the Billboard chart. The flip side song was "Malayisha".[13]

This version's English language content includes a description of the origin of the dance:[14]

Pata Pata is the name of a dance [sat si pata pata] We do down Johannesburg way [sat si pata pata]

And everybody starts to move [sat si pata pata] As soon as Pata Pata starts to play - hoo [sat si pata pata]

The second spoken recitation goes:

"Every Friday and Saturday night, It's Pata Pata time. The dance keeps going all night long, til' the morning sun begins to shine."

The original (1967) version of "Pata Pata" is included on Pata Pata (released 1972), The Best of the Early Years (Miriam Makeba), a collection of 24 tracks released in 2002 by Wrasse, and the 40-track compilation Her Essential Recordings: The Empress of African Song (2006 Manteca).

In 1988, a duet version with Chayanne was recorded. It was included in the album Chayanne. In 1990, Makeba re-recorded the song for her own album Welela. Makeba also released a renovated version of the song, entitled "Pata Pata 2000", in her 2000 album Homeland.

Reception

[edit]

Makeba's 1967 version was successful on the Billboard Hot 100, and peaked at No. 12.[15]

On the night she died, Miriam Makeba performed "Pata Pata" just before she collapsed on stage.[16][17]

Charts

[edit]
Charts (1967) Peak
position
US Billboard Hot 100 12
US Billboard Hot Rhythm & Blues Singles[18] 7
Venezuela 1
Iceland 12

Other versions

[edit]
[edit]
  • In 2009, Honda used the song in a television commercial for their 2010 Accord Crosstour.
  • The song was used in an episode of Season 2 of the HBO television series The White Lotus.
  • The song was used in Season 1 of Veronica Mars.

References

[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Pata Pata

View on Grokipedia
from Grokipedia
![Pata Pata US vinyl single](./assets/Pata_Pata_by_Miriam_Makeba_USvinylUS_vinyl "Pata Pata" is an Afro-pop dance song originating from South African township jive, written by with lyrics in Xhosa meaning "touch, touch," and popularized internationally by Makeba's 1967 recording. First recorded by Makeba in in 1957 during her time with The Skylarks, the song was re-recorded in New York for her debut, achieving commercial breakthrough as her signature hit. It peaked at number 12 on the chart in 1967, marking the first South African song to enter the U.S. top 20 and introducing global audiences to African rhythms amid Makeba's exile from apartheid . The track's infectious upbeat tempo and Makeba's vibrant performance propelled it to enduring popularity, covered by artists across genres and featured in films, while symbolizing cultural resilience despite the political context of Makeba's advocacy against apartheid.

Origins and Composition

Development in South African Townships

"Pata Pata" originated as a popular style in the shebeens—unlicensed informal bars—of Johannesburg's townships during the mid-1950s, amid the social restrictions of apartheid-era segregation. The dance involved partners lightly touching or patting each other on the arms and body, with the Xhosa term "pata" translating to "touch" or "light touch," evoking playful physical interaction in these vibrant, underground social spaces where South Africans gathered despite legal prohibitions on alcohol sales and public assembly. Miriam Makeba, raised in Johannesburg townships like Prospect and , drew from this local culture to compose the song as a descriptive anthem for the dance, blending Xhosa lyrics with emerging township jive rhythms influenced by , , and African traditions prevalent in shebeens. She first recorded it with her vocal group The Skylarks in 1959, releasing it locally as "Phatha Phatha" on the Gallotone label, a variation capturing the song's call-and-response structure and infectious energy that mirrored township party vibes. This early version gained traction in urban Black communities, played on jukeboxes and at gatherings, though some accounts place an initial single release as early as 1956, highlighting discrepancies in archival records from the era's limited documentation. The song's development reflected township resilience, transforming a simple dance craze into a of joy and defiance against apartheid's dehumanizing policies, which confined Black residents to overcrowded, under-resourced areas like and while suppressing cultural outlets. Makeba later described it as an "insignificant ditty" compared to her political works, yet its roots in culture underscored how music fostered communal identity and subtle resistance through everyday celebration. By the late 1950s, as 's career rose, "Pata Pata" embodied the fusion of traditional Xhosa elements with urban improvisation, setting the stage for its evolution beyond South Africa's borders.

Lyrics, Meaning, and Musical Style

"Pata Pata" translates to "touch touch" in isiXhosa, the language in which the song's core lyrics are sung, and it refers to a communal originating in Johannesburg's townships during the mid-1950s, where participants lightly touch each other's sides while moving in sync. The lyrics evoke the joy of this performed in informal shebeens—unlicensed bars in segregated black communities—often continuing until dawn, with phrases like "sasa" (meaning "now") urging immediate participation and "pata pata" instructing the touch-and-step motion. In its 1967 international release, English verses were added to explain the , broadening accessibility while preserving the Xhosa chorus's rhythmic incantation. The song's meaning centers on escapist celebration amid apartheid's restrictions, capturing township youth culture's resilience through unpretentious fun rather than overt , though its global success later amplified awareness of South African oppression. described it as a simple ditty from her early career, not initially political, but its infectious energy symbolized defiance for exiled artists like herself. Some arrangements, such as choral adaptations, modify lyrics for educational purposes, substituting Xhosa terms like "saguquka" (to change) with approximations, though purists note deviations from the original's phonetic authenticity. Musically, "Pata Pata" embodies township jive, a lively South African genre from the 1950s fusing , Zulu folk elements, and urban improvisation, driven by accordion-like guitar riffs, handclaps, and percussive foot-stomps mimicking dance steps. Its style features call-and-response vocals led by Makeba's versatile —shifting from husky lows to bright highs—over a mid-tempo groove that prioritizes groove and communal over complex , aligning with mbaqanga's later evolution but rooted in pre-apartheid urban pop. The 1967 version enhances this with Western production, adding bass and subtle reverb for international appeal, yet retains the raw, dance-floor urgency of its township origins.

Recordings and Releases

Original 1957 South African Version

The original South African version of "Pata Pata" was recorded by in 1957, featuring her vocals accompanied by basic instrumentation typical of township jazz ensembles of the era, including acoustic guitar, bass, and percussion to evoke the lively rhythms of Johannesburg's urban dance halls. Sung primarily in Xhosa, the song's title translates to "touch touch," directly referencing a popular close-contact dance performed in the city's segregated black townships, where participants would lightly touch knees and hips in a playful, synchronized manner. This version captured the raw, communal energy of the dance without the polished production or English-language additions found in later recordings, emphasizing Makeba's clear, emotive delivery over a mid-tempo groove blending traditional African call-and-response patterns with emerging influences. Released locally in the same year, the track gained traction through radio play on stations catering to black audiences and live performances in shebeens and community gatherings, though its distribution was limited by the apartheid regime's restrictions on non-white artists and music. , then in her early 20s and performing with groups like The Skylarks, drew from authentic culture to compose the melody and lyrics, which instruct dancers on the steps—"Saguquka sathatha thatha njalo pata pata"—while evoking the social bonding of the Pata Pata routine amid the era's oppressive conditions. Unlike the 1967 international re-recording, this iteration lacked overt commercial adaptations, retaining its unadorned folk authenticity and serving as an early showcase of 's ability to fuse indigenous sounds with accessible pop appeal for domestic listeners. The 1957 recording's significance lies in its documentation of pre-exile South African musical expression, predating Makeba's banishment in 1960 following her international advocacy against apartheid, after which the song's local availability diminished due to government censorship of her work. Archival references indicate it was issued on domestic labels targeting urban black markets, though exact pressing details remain sparse, reflecting the informal recording industry under segregation. This version's unamplified joy and rhythmic simplicity contrasted sharply with the systemic racial controls of the time, positioning it as a subtle act of cultural preservation rather than overt protest.

1967 International Version and Production

![US vinyl release of Pata Pata][float-right] The 1967 international version of "Pata Pata" was re-recorded by in the , adapting the original 1957 South African track for global audiences. Produced by , the session incorporated American production techniques to enhance its appeal, including an English-language spoken introduction by Makeba explaining the song's origins as a township touch game. This version appeared on Makeba's album Pata Pata, her debut release for following her departure from RCA Victor, with the album issued in 1967. The single, backed by "The Ballad of the Sad Young Men," was released by Reprise in 1967 under catalog number 0606. Ragovoy, known for soul and R&B productions, arranged and conducted elements to blend Makeba's Xhosa vocals with Western instrumentation, contributing to its crossover success. Recording took place amid Makeba's rising U.S. career, leveraging her exile status and advocacy against apartheid to position the track as both and cultural export. The production emphasized rhythmic percussion and call-and-response elements from the original, while polishing the sound for radio play. This iteration, distinct from the earlier Gallo release, propelled "Pata Pata" to international recognition, peaking on U.S. charts and establishing Makeba as a pioneer.

Subsequent Re-releases and Remasters

The album Pata Pata, featuring the title track as its lead single, has seen multiple reissues and remastering projects following its 1967 debut on Reprise Records. In 2014, Music On Vinyl released a limited-edition 180-gram vinyl reissue in stereo format (MOVLP909), preserving the original album sequencing while targeting audiophile collectors. A landmark remaster occurred in 2019 when Strut Records, as part of its Original Masters reissue series, produced the Definitive Remastered Edition. Sourced directly from the original 1966 reel-to-reel tapes held in the Warner archives, this version was mastered by engineer The Carvery at The Blue Proving Ground in London, yielding enhanced clarity in Miriam Makeba's vocals and the instrumental arrangements without altering the analog warmth. For the first time commercially, it included both mono and stereo mixes across a two-LP or CD set, with the mono reflecting the original single's production intent and stereo offering expanded spatial depth. Released on September 6, 2019, the edition also featured new liner notes by Makeba's biographer Nomsa Mwamuka and high-resolution reproductions of session photography. Digital platforms have hosted subsequent remasters, including a 2017 version of the full on services like , derived from high-resolution transfers of the masters. In 2024, issued a remastered edition of the compilation The Unforgettable Miriam Makeba, incorporating an updated transfer of "Pata Pata" with refined dynamics and reduced , as showcased in official visualizers. These efforts have ensured the track's accessibility across formats, with the remaster particularly praised for to the source material by audio specialists.

Commercial Performance

Chart History

"Pata Pata" by Miriam Makeba, released internationally in 1967, achieved its primary commercial success on United States charts. The single debuted at number 93 on the Billboard Hot 100 on October 7, 1967, reached a peak position of number 12 on November 25, 1967, and remained on the chart for 11 weeks, exiting at number 32 on December 16, 1967. It also peaked at number 36 on the Billboard Adult Contemporary chart and number 7 on the Billboard Hot R&B/Hip-Hop Songs chart during the same period. These positions marked the song as Makeba's highest-charting single in the US, reflecting its crossover appeal amid the era's pop and soul markets. The track did not enter major international charts outside the US for its original release, including no position in the UK Singles Chart top 50 in 1967. Later re-entries, such as in 2020 following renewed interest, peaked at number 60 on the UK Official Singles Sales Chart and number 54 on the Downloads Chart for one week each, but these were driven by digital streams rather than physical sales tied to the 1967 version.
US Chart (1967)Peak Position
12
Billboard Adult Contemporary36
Billboard Hot R&B/Hip-Hop Songs7

Sales, Certifications, and Awards

The 1967 U.S. single release of "Pata Pata" by , issued by , did not attain any certifications from the (RIAA), despite reaching the upper echelons of the . No official sales figures for the single have been published by the label or industry trackers, though its #12 peak position on the and #7 on the R&B chart indicate robust physical sales for the era, when top-20 hits typically exceeded 500,000 units based on contemporaneous methodologies. The associated album Pata Pata is estimated to have sold approximately 89,000 copies worldwide, per chart-derived aggregations. The itself received no specific sales-related awards, though Makeba's broader catalog accolades, such as her 2002 , indirectly reflect its foundational role in her commercial . Subsequent reissues, including a 2020 digital release, charted briefly at #60 on the Official Singles Sales Chart but garnered no certifications or disclosed sales data.

Reception and Analysis

Critical Response

Music critics have lauded "Pata Pata" for its infectious Afro-pop and Makeba's vibrant vocal delivery, which captured the exuberance of South African while achieving crossover appeal in the West. The 1967 single, peaking at number 12 on the , was highlighted in reviews for blending traditional Xhosa clicks and percussive elements with accessible pop structures, introducing global audiences to African musical idioms. Music historian Rob Allingham has described it as "quite probably the best-known of African origin in the world," emphasizing its enduring melodic hook and rhythmic drive rooted in 1940s Zulu vocal group traditions. Retrospective analyses, such as John Eyles' review of the Strut Records reissue, praise the track and its parent as an "under-appreciated classic" free of filler, radiating through committed performances and rich soundscapes derived from original reel-to-reel tapes. Broadcaster Rita Ray has noted its subversive joy, transcending racial and cultural boundaries in an era of apartheid oppression, while Tanisha C. Ford underscores its role in fostering diasporic connections among Black American listeners by showcasing authentic African sounds. However, some scholarly critiques point to elements of commercialization in Makeba's English-language adaptations, including "Pata Pata," which originated as a simple dance tune but was refined for international markets under producer . Makeba herself downplayed its significance in her 1987 autobiography, calling it "one of my most insignificant songs" amid her politically charged repertoire like "Soweto Blues," viewing its lighthearted content—essentially about carefree dancing—as mismatched with her exile and activism against apartheid. This apolitical framing has led to debates on whether the song's global popularity diluted perceptions of Makeba's broader resistance narrative, though its commercial success marked the apex of her career trajectory.

Public and Cultural Reception

"Pata Pata" originated as a lively township dance tune in South Africa's Johannesburg shebeens during the mid-1950s, where it gained popularity among Black communities for its simple, infectious "touch-touch" choreography and upbeat rhythm encouraging communal dancing. The song's Xhosa lyrics and call-and-response format reflected everyday joys amid oppressive conditions, fostering a sense of resilience and escapism for listeners in segregated urban townships. Following its re-recording and international release, the track achieved broad public embrace in the United States and as a feel-good anthem, with audiences drawn to its defiantly joyful energy that contrasted sharply with Miriam Makeba's personal exile from apartheid-era . Radio play and live performances propelled it into dance halls and parties, where its percussive groove and Makeba's charismatic delivery sparked widespread imitation of the "Pata Pata" steps, marking one of the earliest global hits blending African rhythms with Western pop accessibility. This reception highlighted the song's role in bridging cultural divides, as non-African listeners encountered and adopted elements of South African musical traditions for the first time on a mass scale. Culturally, "Pata Pata" amplified awareness of African sonic diversity, serving as a gateway for global audiences to Makeba's oeuvre and broader township influences, while subtly underscoring her anti-apartheid stance through the irony of a carefree ditty performed by a political . Its enduring appeal lay in this duality—pure value paired with contextual depth—fostering sympathy for South African struggles without overt didacticism, and influencing perceptions of African music as vibrant and exportable rather than marginal. Over decades, the song retained cultural resonance, evoking for world music fusion and symbolizing cross-cultural exchange amid geopolitical tensions.

Criticisms and Debates

Miriam Makeba herself regarded "Pata Pata" as one of her least significant compositions, describing it in her 1987 autobiography My Story as paling in comparison to her more explicitly political works such as " Is Gone" and " Blues," which directly addressed the injustices of apartheid. This self-assessment highlights a tension in the song's reception: its lighthearted depiction of a township dance routine, originating from Johannesburg's shebeens in the 1950s, offered an ostensibly apolitical escape amid systemic oppression, yet Makeba prioritized music that confronted head-on. Critics and scholars have debated whether the track's international success inadvertently sanitized South Africa's realities for Western audiences, presenting a vibrant, exoticized image of culture that overshadowed the era's brutality. While the song's upbeat tempo and Xhosa lyrics about communal dancing symbolized resilience—"pata pata" meaning "touch touch" in reference to the dance's physicality—it lacked the overt elements of Makeba's UN testimonies or compositions like "Beware, Verwoerd!," which drew arrests for public performance under apartheid. This apolitical framing enabled its chart-topping appeal in the U.S. and starting in 1967, peaking at number 12 on the , but fueled discussions on whether such accessibility amplified Makeba's anti-apartheid advocacy or diluted its urgency by prioritizing entertainment over . Further contention arose from Makeba's broader career trajectory, where "Pata Pata"'s popularity provided a platform for her exile-fueled activism—banned from South Africa since 1960—yet her marriage to Stokely Carmichael in 1968 prompted conservative backlash, canceling tours and framing her as an extremist despite the song's earlier embrace by mainstream America. Later, her participation in Paul Simon's 1986 Graceland album, which featured "Pata Pata" elements indirectly through South African collaborations, drew ire for violating the cultural boycott against the apartheid regime, raising questions about the ethics of globalizing township sounds amid ongoing isolation efforts. These episodes underscore ongoing scholarly discourse on the song's dual role as both a vehicle for cultural export and a point of friction in resistance strategies.

Cover Versions and Adaptations

Notable Cover Recordings

Angelique Kidjo, a Beninese singer known for her interpretations, released a re-recorded version of "Pata Pata" in 2020 as "No Pata Pata" in collaboration with to promote awareness, adapting lyrics to emphasize handwashing and while retaining the song's joyful rhythm as a tribute to . The track featured contributions from musicians across multiple countries and garnered attention for blending messaging with African musical heritage. Mexican singer Thalia included a cover on her 2000 album , infusing the track with elements including upbeat percussion and Spanish-language verses alongside the original Xhosa chorus. The version aligned with Thalia's crossover appeal in Latin markets but did not chart significantly in global rankings. Ghanaian-British Afro-rock band recorded a funk-infused rendition in 1980 for their album Mystic Energy, extending the track's duration with extended instrumental sections characteristic of their and style. Released as a single in the UK, it reflected the band's effort to reinterpret African roots for international audiences during the disco era. French singer adapted the song as "Tape Tape" in 1980, transforming it into a disco-oriented French-language track with synthesized beats and simplified focused on instructions, which aired on French television and appealed to European pop listeners. The adaptation maintained the infectious but shifted emphasis toward Euro-disco production.

Samples, Remixes, and Modern Adaptations

"Pata Pata" has been sampled in several electronic and dance tracks, with music database documenting seven instances, primarily incorporating its distinctive vocals and rhythmic groove. One prominent example is the 2011 house track "Hi-a Ma (Pata Pata)" by German producers Milk & Sugar, featuring herself and , which samples vocals and lyrics from the original to create an Afro-house fusion that peaked at number 13 on the UK Singles Chart. Another sample appears in feat. Crizzy Cee's "Pata Pata," which directly lifts elements from Makeba's recording for a dance-oriented reinterpretation. The song has undergone various remixes emphasizing its danceable qualities. In 1989, a remix dance version titled "Pata Pata (Remix Dance Version '89)" was released on Polydor, updating the track with extended beats and electronic production for club play. French EDM duo Ofenbach issued a high-energy remix in 2014 via Brookline Records, transforming the original into a festival-ready electronic track with amplified basslines and drops, gaining traction on platforms like SoundCloud. Modern adaptations often blend "Pata Pata" into global electronic genres, reflecting its enduring rhythmic appeal. Milk & Sugar's 2011 production stands as a key example of this evolution, bridging Makeba's Afro-pop roots with influences. More recent unofficial remixes, such as versions circulating in 2024, demonstrate ongoing experimentation in South African house subgenres, though these lack major label distribution.

Legacy and Influence

Impact on Global Music and Dance

"Pata Pata" achieved peak position at number 12 on the chart in December 1967, representing the first major commercial success for a South African recording in the United States and introducing jive rhythms to international pop audiences. This breakthrough facilitated broader awareness of African musical traditions, blending Xhosa-language vocals with accessible Afro-pop structures that contrasted with prevailing Western genres of the era. The song's global chart performance and radio play spurred interest in cross-cultural fusions, influencing the nascent category by demonstrating how non-Western elements could integrate into mainstream markets without dilution. Its upbeat and call-and-response patterns encouraged experimentation among Western producers and artists seeking rhythmic novelty, as evidenced by subsequent covers spanning interpretations to electronic remixes. In terms of dance, "Pata Pata"—translating to "touch-touch" in Xhosa—evokes a South African dance style characterized by partnered physical contact and lively footwork, which the 1967 release popularized abroad amid the decade's dance fads. The track's infectious groove aligned with 1960s trends like the Twist and , prompting adaptations in European and American clubs where performers mimicked its energetic, communal movements. This cross-pollination extended forms into global nightlife, fostering a legacy of rhythmic experimentation in fusion styles. The song "Pata Pata" has been featured in several American films and series, often to evoke themes of joy, dance, or cultural vibrancy. In the 2019 comedy-drama film Poms, directed by Zara Hayes, it plays during scenes depicting a group of retirees forming a squad, underscoring their energetic performances. The track appears in the pilot episode of the UPN series Veronica Mars, which aired on September 22, 2004; it sounds during a sequence at the sheriff's office amid investigative activity. In advertising, licensed the recording for a U.S. television commercial promoting the Accord Crosstour crossover , where the upbeat rhythm accompanied visuals of dynamic driving and . This usage highlighted the song's infectious appeal in mainstream marketing, aligning its lively Afro-pop style with themes of freedom and movement. Additional placements include episodes of the FX comedy series Dave, such as "The Observer" from 2020, and the Sky miniseries The Baby in the 2021 episode "," where it serves as background for character-driven moments.

Recent Developments and Revivals

In the 2010s and 2020s, "Pata Pata" experienced revivals through remastering projects that enhanced its audio fidelity for contemporary audiences. Strut Records issued a definitive remastered edition of Makeba's 1967 album Pata Pata on September 6, 2019, restoring original master tapes to preserve the track's rhythmic vitality and vocal clarity. In 2024, additional remasters emerged, including a live version from Makeba's performances and a visualizer for the stereo original, distributed via platforms like YouTube to reach streaming listeners. Electronic remixes adapted the song for modern dance music genres. French duo Ofenbach released a remix in 2014, layering synthesizers and upbeat tempos over Makeba's vocals to appeal to electronic music fans, with the track gaining traction on platforms like and . During the , Beninese artist covered the song as "No Pata Pata" on April 30, 2020, in partnership with , modifying lyrics to emphasize handwashing and while retaining the original's infectious energy to promote compliance. This adaptation, described by as a rerecording of the "world's most defiantly joyful song," aimed to counter pandemic fatigue with Makeba's optimistic spirit. Commercial uses sustained the track's visibility. In 2022, South African distiller Bain's Whisky featured Makeba's original in a television ad campaign, employing AI-driven technology to recreate her performance and evoke cultural nostalgia tied to the brand's heritage. Live performances underscored ongoing cultural relevance, as evidenced by its inclusion in the at the 35th Africa Festival in , , on July 26-28, 2024, where South African classics like "Pata Pata" were performed alongside global hits to celebrate African musical traditions.

References

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  38. https://www.udiscovermusic.com/news/angelique-kidjo-updates-pata-pata/
  39. https://www.discogs.com/release/2466943-Osibisa-Pata-Pata
  40. https://www.whosampled.com/cover/192602/Thalia-Pata-Pata-Miriam-Makeba-Pata-Pata/
  41. https://www.discogs.com/master/151201-Osibisa-Pata-Pata
  42. https://www.whosampled.com/cover/124727/Osibisa-Pata-Pata-Miriam-Makeba-Pata-Pata/
  43. https://www.youtube.com/watch?v=ocEaZhAhtrE
  44. https://www.whosampled.com/Sylvie-Vartan/Tape-Tape/
  45. https://secondhandsongs.com/performance/93953
  46. https://www.whosampled.com/Miriam-Makeba/Pata-Pata/sampled/
  47. https://www.discogs.com/master/365320-Milk-Sugar-Hi-a-Ma-Pata-Pata
  48. https://open.spotify.com/album/5Amv5HoKf4X4dK1J9aDAYp
  49. https://www.whosampled.com/sample/29314/Martinique-Crizzy-Cee-Pata-Pata-Miriam-Makeba-Pata-Pata/
  50. https://www.discogs.com/release/2738515-Miriam-Makeba-Pata-Pata-Remix-Dance-Version-89
  51. https://www.facebook.com/weareofenbach/posts/brand-new-remix-miriam-makeba-pata-pata-ofenbach-remixnow-available-on-brook-lin/1457081917868731/
  52. https://soundcloud.com/weareofenbach/miriam-makeba-pata-pata-ofenbach-remix
  53. https://www.discogs.com/release/31258282-Milk-Sugar-Feat-Miriam-Makeba-Hi-A-Ma-Pata-Pata
  54. https://soundcloud.com/djfato/pata-pata-amapiano-remix
  55. https://www.billboard.com/charts/hot-100/1967-12-09/
  56. https://worldmusiccentral.org/artist-profiles-miriam-makeba/
  57. https://dsae.co.za/entry/patapata/e05548
  58. https://sixtiescity.net/Culture/dance2.htm
  59. https://www.theguardian.com/world/2020/apr/23/no-pata-pata-60s-south-africa-dance-hit-revived-to-spread-word-on-coronavirus
  60. https://www.imdb.com/title/tt5125894/soundtrack/
  61. https://www.imdb.com/title/tt0739537/soundtrack/
  62. https://www.autostraddle.com/heard-it-on-tv-miriam-makeba-and-honda/
  63. https://www.what-song.com/Artist/24428/Miriam-Makeba
  64. https://www.youtube.com/watch?v=PVDeEH7y9Rg
  65. https://m.soundcloud.com/weareofenbach/miriam-makeba-pata-pata-ofenbach-remix
  66. https://pan-african-music.com/en/angelique-kidjo-miriam-makeba-pata-pata/
  67. https://www.imdb.com/de/news/ni62868841/
  68. https://retailingafrica.com/blog/2022/09/08/retail-campaign-bains-whisky-brews-a-new-story/
  69. https://www.africafestival.org/en/archive/35th-africa-festival-2024/
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