Category Archives: Kinesthetic

Body movements

Children’s Hand Game: Concentrate

The game requires two players. One hand is facing down, one hand is facing up, your hands are mirrored with each other, and then you clap three times on your own. To start, you do those actions while singing “Concentrate, 48, no repeats, or hesitates, ill go first, you’ll go second, let’s concentrate on _
The informant stated that the category to concentrate on is chosen before the start of the game. For example, the category could be Disney characters, fast food restaurants, books, movies, or anything else. Then the informant said the point of the game was to continue to list out things in that category while alternating back and forth, doing the same hand-clapping motions every time a response is given. The game ends when one of the individuals runs out of responses, someone hesitates, or something is repeated.

The informant has an older sister who is five years older than her. She states that growing up, her sister knew so many games such as hand clapping games meant to pass the time. Whether it was in car rides, in line at Disney World, and before Iphones and Ipads, it became an integral thing for them. She stated that when they would play, they would think “Oh you’re bored, oh you don’t have anything to do, you just want to be silly for a second” and it would alleviate their boredom. Additionally, she added that at other times the adults would be busy and thus she and her sister would need to occupy themselves so they would be able to be silly and have fun. She added that she was a girl scout and learned many other hand games through this as well. Lastly, she mentioned that she still plays now for nostalgia and that she has taught it to some of her friends now as a way to disconnect from being on their phones all the time.

 The hand-clapping game resembles many other games in the sense that its pace is fast and creates a competitive environment between its players. The urgency to play whenever one was bored shows how children are able to be creative and innovative. Considering the link between being a girl scout and having the knowledge of all these games shows that there is a purpose to learning these games and that we view them as having value and not just something silly. They provide children with something they can do that stimulates their minds and can also now help to detach themselves from using technology for entertainment so much.

Tinikling

Text:

The tinikling is a dance performed by Filipino people where the dancers hop between two bamboo poles held on either side by other performers, as the bamboo poles are tapped on the ground in a specific rhythm.

Context:

The informant is 67, was born and raised in the United States, and whose parents were born and raised in the Philippines. She performed this dance for school as part of physical education and sometimes for school performances. The dance was taught by the school as the national dance of the Philippines. 

Analysis:

Tinikling, the national folk dance of the Philippines, is a dance inspired by the movements of the bird that it is named after. Though there are many stories about the origin of this dance, the one with most historical context is that it arose among the indigenous Filipino people after Spanish colonists would punish the Filipino people working in their plantations by smacking their feet with bamboo sticks. Therefore, the form of folk dance that evolved from this punishment serves as an act of rebellion against past colonization and occupation, as well as a celebration of Filipino heritage. The dance is performed not only in the Philippines, but survives in the younger generations who perform the dance, usually in cultural clubs at universities.

USC Football Superstitions – kick the lamp post

Text:

NC: “Before a football game, when you are walking to the Coliseum, you have to kick the lamp post right before you leave campus or else USC will have bad luck in the game. I have no idea where that comes from, but my friend told me on our way to one of the first football games we went to our freshman year. We saw a bunch of other people doing it too, so we did it. Now, I always do it because I don’t want to curse the team with bad luck. It’s like subconscious, I mean I’m not superstitious about anything else, but I always do it without fail before the game. You only do it before football games too, nothing else.”

Context:

NC is a undergraduate student at USC. She is 20 years old, and she is a sophomore. She is from Seattle, Washington, and did not most of USC traditions before coming to the school. She originally learned of this superstition in the fall of her freshman year. She does not know the origins of this tradition. I collected this superstition in person and recorded her to transcribe what she stated.

Analysis:

University of Southern California, as do many old and large universities, has many traditions that are passed on through new students in each incoming class. Often, the origins of these traditions are lost over the years, as is the case with this superstition. USC has a very large culture that is very specific to the people who are a part of the community, especially regarding football. These might be hand gestures, songs, objects, or in this case, superstitions. Even though many people who attend this school are not superstitious people by nature, they still partake in this game day good luck action. Kicking a lamp post for luck is not based in reason, and probably seems silly to people who are not a part of the community, as is common with superstitions. However, the desire to be a part of the community and partake in rituals nudges people to take part in a superstition they might initially think is illogical. As a person begins to feel the belonging associated with partaking in certain ritual experiences, the person is more and more likely to do the act associated with the superstition, until they believe in the truth of the superstition themselves, essentially causing an illusionary truth effect. This superstition clearly shows cultural influence on a person’s personal beliefs.

Dabke

[L]: For weddings, we always have like specific instruments for like the ceremony. We have tabals, which are a certain kind of drum that will be at every wedding, every Lebanese wedding reception. There’s also the darbuka which is another type of drum and then there’s also a little like flute…I don’t really know what it’s called but if you googled “lebanese flute” you could find it. [I did google it, and it’s called a zamour] And those three instruments are essential for Lebanese weddings.

[Me]: Do you happen to know why?

[L]: Well those are just the instruments that are used for all parties, aka hafle, but those instruments are just like at the center of almost all like party music and they’ve all been used in the region forever. You’ll find variations of those instruments in every other country in the Middle East..but yeah.

[Me]: Are there particular types of songs that they play? Or even a particular mood or tone or rhythm of them?

[L]: Usually very upbeat, um, and the mood or rhythm…there’s a very iconic Lebanese party music if you look up Faris Karam, he’s a very….iconic singer and his songs will always be at weddings. There’s also a dance that we do called dabke and we do that at all of our parties and weddings.

L is 20 years old and a student at USC. She grew up in Michigan, but spent most summers in Lebanon with family. Her dad grew up in Lebanon and immigrated to the United States in his early 20s, and her mom grew up in the United States in a Lebanese immigrant family. L has been to multiple Lebanese weddings—though only in the United States—so this information comes from her first-hand experiences as well as her general knowledge of Lebanese culture from her upbringing. 

I was fortunate enough to attend a USC Lebanese, Egyptian, Persian club crossover event with L very shortly after conducting this interview, and was able to experience and witness dabke first-hand. The dance didn’t make an appearance until about 2 hours had gone by of vibrant Arabic music blasting all around, but when it did surface, it was unstoppable. There was no distinction between those of Lebanese or Egyptian or Persian origin, this was a moment of people coming together to perform a dance that they knew as well as their own names. The most wonderful part of dabke, in my humble opinion, is that it works in a similar fashion to a conga line—participants can keep joining at the end of the chain—but instead of being linear, the front of the line begins to spiral inward to create a sort of pinwheel of people, all holding hands and united in dance. It makes perfect sense that this would be a dance performed at weddings and other celebrations alike—upon doing a little bit of research, I found that the dance has ties to community, family bonding, and resilience: “A simple message of locking arms together, stomping to the ground, and singing or chanting has left a deep mark in the culture…it unifies us against our oppressor” (Dabke Dance: A Shared Tradition of the Levant). Dabke is a folk dance known well in regions like Palestine, Lebanon, Syria, and Jordan, where people live and die by their connections to their family and community. Speaking to the specific wedding performance of dabke, a wedding is a liminal period in one’s life, and thus a dance promoting and encouraging resilience and unity would serve to reassure the newlyweds and make sure that they know they have the strength and love of the community behind them. All in all, dabke is a beautiful manifestation of the dearly held beliefs, ideals, and traditions of both Lebanese and other middle-eastern cultures.

Chinese promise gesture and accompaning phrase

Text:


“Here is a gesture that might be interesting. The gesture is for making a promise. I think the U.S.’ is very similar. You hook your pinky finger with your friend and touch your friend’s thumb.”


“But what’s different in China is that at the same time, you need to say ‘la gou shang diao yi bai nian bu xu bian.'”


“The two thumb touching is what we say like putting a stamp on the promise.”


Context:


FG is a student studying history and economics at USC. He is currently in a program in Ireland. He performed this folk gesture and folk speech to me through a zoom call. This piece of folklore is something that is performed many times by the informant when he was young.


Analysis:


This is a combination of folk speech and folk gesture. The folk speech has to go in combination with the gesture to make any sense. As a matter of fact, because this folk speech has been around for too long, part of the content doesn’t make sense anymore. “La gou shang diao yi bai nian bu xu bian,” or “拉勾上吊一百年不许变,” translate directly to “hook, hang, a hundred years no change. ” The “hang” part doesn’t make sense because as this piece of folklore spread in China, the original word for “shang diao”, or “上吊”, or hang, actually is a transformation from the homophone “上调,” which also is “shang diao,” but the meaning is very different. “上调” means the thumbs pull up and meet to put a red stamp on the things we want to promise.


On the other hand, another explanation is formed for the transformed version of “shang diao,” or “上吊.” People start to say that it means we keep our promises til we die. Because “上吊” specifically means a method of suicide: hanging on a rope. Folklore rationalizes itself with different transformations. It intrigues me when I think of the transformation and the rationalization of this particular piece.