Tag Archives: Folk song

Korean Folksong 4: Fate’s Appearance

1) 

Original: 

빛나는 그대를 보면 볼수록 태양이 어두워진다

청국의 가장 아름다운 천사들도 평범해 보여지게 하는 그대가 

어디에서 온 걸까? 

다른 세계 – 가능

다른 세월 – 가능

이 세계 – 확실히 불가능

우리의 출신이 세상 차이니 낯선데 뭔가 인연인 듯이 익숙하다

Romanization / Transliteration: 

Bit-na-neun geu-dae-reul bo-myun bol-soo-rok tae-yang-ee eoh-doo-wuh-jin-da

chung-kook-eh ga-jang ah-reum-da-oon chun-sah-deul-do pyung-bum-hae bo-yuh-ji-gae ha-neun geu-dae ga eoh-di-ae-suh on-gul-kka?

da-reun seh-gye – ga-neung

da-reun seh-woul – ga-neung

Ee-seh-gye – hawk-shil-hee bool-ga-neung

Oo-ree-eh chool-sheen-ee sae-sang cha-i-ni nat-sun-dae mwon-ga in-yun-in deu-si eek-sook-ha-da

Full Translation: 

The more I see you shine, the darker the sun gets. 

Where did you, who can make even heaven’s most beautiful angels appear ordinary, come from? 

A different world is possible

A different time is possible

But you being from the same world is without a doubt impossible

Since our origins are so different, you seem strange, but something, as if it’s fate, is familiar

2) My Korean grandmother introduced this folk song, called “인연의 나타남” (fate’s appearance) to me because it was a song that she learned during highschool, and it came to have great meaning for her when she met my grandfather. She said the song is about a very idealistic love, and she told me that she hopes people don’t yet give up on the idea that such a love could possibly exist. 

3) This performance was actually done by my grandmother and mother together. My grandmother sang the lyrics, and my mother, being a pianist, improvised an accompaniment along with the melody. It was a set of four Korean folk songs that they performed in front of me and the rest of our family. 

4) This song is centered around the idea of two lovers who are of completely different backgrounds. The subject of the folk song is a person who appears almost perfect, so perfect that assuming a relationship with that person seems near impossible. However, the concept of fate, Inyun, in Korean plays a big role in the song’s theme. It suggests that no matter how infeasible this relationship seems, if fate wills its manifestation then it will come to be. This song also leads me to compare Inyun with the concept of Akyun, which depicts a relationship that is also subject to fate, but is instead bound to be ill-fated. Comparing these two concepts, it becomes clear that Korean tradition attributes both miracles and tragedies to the idea of fate. 

“The Johnson Boys” Campfire Song

Context:

KR’s grandfather was a Scoutmaster in Ontario who led Cub Scouts and Boy Scouts on camping trips and also enjoyed going camping with his own family. He remembers this piece as one of the songs his grandfather used to sing around the campfire with them.

Main Piece:

“The Johnson Boys”

Verse 1:  
Oh, the Johnson boys, the Johnson boys,
 They lived on a mill on the side of the hill, 
Verse 2:
Oohh, the Johnson boys, the Johnson boys, 
They lived on a mill on the side of the hill,
Verse 3:
Ooohhhhh, the Johnson boys, the Johnson boys,
They lived on a mill on the side of the hill.

Continue ad infinitum, with the “oh” being drawn out longer with each repetition of the verse.

Analysis:

KR remembers “The Johnson Boys,” as “the song with one hundred thousand verses.” He says it’s, “a fun little song that everyone gets to chime in on,” since the lyrics were easy to remember and stretching out the “oh” always made the kids laugh. This song fulfills the classic roles of a good campfire song: something easy to pick up and remember, but with a fun twist to entertain the children. Since KR’s grandfather was a scout leader, the trips he led were mainly composed of children, it makes sense that he would have a library of these songs that are easily accessible for anyone.

This facet of folk song is interesting to me because while it is folk culture, it is also in some ways an institutionally pushed song. By this I do not mean that it was integrated into standardized education, or utilized by the government/corporations, but it significantly differs from some other children’s songs because it is a song that was taught to children by adults, and generally performed between children and adults. Often, folkloric children’s chants and songs evolve within the young population, perhaps even against the will of the adults surrounding them. But this song, and other campfire songs like it, are more of a bridge between the cultural worlds of the child and the adult leaders. They are neither the children’s song (because the children did not create it or claim it as their own to change and sing on their own) but also not a song for the adults (because the adults sing it primarily for the enjoyment of the children).

En el Muelles de San Blas- Folk song by Mana

Context:

A is a Mexican immigrant from the state of Nayarit. They heard of this legend when they lived in the city of Tepic, which was about an hour away from where the legend takes place. San Blas is a well-know beach and was frequently visited by A.

The context of this piece was over a dinner when we were discussing future plans to visit Nayarit, specifically which beaches we were going to. A mentioned the legend and showed me the song.

Text:

Uh-uh-uh-uh, uh-uh

Ella despidió a su amor
El partió en un barco en el muelle de San Blas
El juró que volvería
Y empapada en llanto, ella juró que esperaría

Miles de lunas pasaron
Y siempre ella estaba en el muelle, esperando
Muchas tardes se anidaron
Se anidaron en su pelo y en sus labios

Uh-uh-uh-uh, uh-uh

Uh-uh-uh-uh, uh-uh

Llevaba el mismo vestido
Y por si él volviera, no se fuera a equivocar
Los cangrejos le mordían
Su ropaje, su tristeza y su ilusión

Y el tiempo se escurrió
Y sus ojos se le llenaron de amaneceres
Y del mar se enamoró
Y su cuerpo se enraizó en el muelle

, sola en el olvido
(Sola), sola con su espíritu
(Sola), sola con su amor el mar
(Sola), en el muelle de San Blas

Su cabello se blanqueó
Pero ningún barco a su amor le devolvía
Y en el pueblo le decían
Le decían la loca del muelle de San Blas

Y una tarde de abril
La intentaron trasladar al manicomio
Nadie la pudo arrancar
Y del mar nunca jamás la separaron

, sola en el olvido
(Sola), sola con su espíritu
(Sola), sola con su amor el mar
(Sola), en el muelle de San Blas

, sola en el olvido
(Sola), sola con su espíritu
(Sola), sola con el sol y el mar
(Sola), ¡Oh, sola!

Sola en el olvido
(Sola), sola con su espíritu
(Sola), sola con su amor el mar
(Sola), en el muelle de San Blas

Se quedó
Se quedó sola, sola
Se quedó
Se quedó con el sol y con el mar

Se quedó ahí
Se quedó hasta el fin
Se quedó ahí
Se quedó en el muelle de San Blas

Uoh, oh-oh-oh

Sola, sola se quedó
Uoh, oh-oh-oh

// Translation:

Uh-uh-uh-uh-uh, uh-uh

She said goodbye to her love

He left on a boat at the pier in San Blas

He swore he’d come back

And drenched in tears, she swore she’d wait

Thousands of moons passed

And always she stood on the dock, waiting

Many afternoons nested

They nested in her hair and on her lips

Uh-uh-uh-uh-uh, uh-uh

Uh-uh-uh-uh-uh, uh-uh

She wore the same dress

And just in case he came back, he wouldn’t be wrong

The crabs were biting him

Her clothes, her sadness and her illusion

And time slipped away

And her eyes were filled with sunrises

And she fell in love with the sea

And her body took root on the pier

Alone in oblivion

(Alone), alone with her spirit

(Alone), alone with her love for the sea

(Alone), alone on the pier of San Blas

Her hair bleached white

But no ship to her love returned to her

And in the town they called her

They called her the madwoman of the pier of San Blas

And one April afternoon

They tried to transfer her to the asylum

No one could tear her away

And from the sea they never ever separated her

Alone in oblivion

(Alone), alone with her spirit

(Alone), alone with her love for the sea

(Alone), on the pier of San Blas

alone in oblivion

(Alone), alone with her spirit

(Alone), alone with the sun and the sea

(Alone), Oh, alone!

Alone in oblivion

(Alone), alone with her spirit

(Alone), alone with her love the sea

(Alone), on the pier of San Blas

She stayed

She stayed alone, alone

She stayed

She stayed with the sun and the sea

She stayed there

She stayed until the end

She stayed there

He stayed on the pier of San Blas

Uoh, oh-oh-oh-oh

Alone, alone she stayed

Uoh, oh-oh-oh

Analysis:

This text describes the legend of the crazed woman of San Blas. This song was made by the well-known Mexican rock band Mana and is around the folklore of the madwoman of the pier of San Blas. It was said that she was a young and beautiful woman that had fallen in love with a young sailor, possibly a fisherman. The two fell madly in love but their time together was brief as he left once his work was done in Nayarit. His departure was set to be from the shores of San Blas, a popular beach in Nayarit.  Before leaving, he promised he would come back for her and marry her. As the song says, she stood there for a thousand nights and spent the entirety of her life waiting for him to come back. The legend says that the overwhelming feels of sadness, nostalgia, and desperation drove her into madness. It was said that in her state of madness, she began to head to the pier in a wedding gown with a veil and bouquet to wait for her groom to return to her. I found this song especially interesting as it was able to turn a somewhat niche local lore and publicize to the masses. I enjoyed how the band was able to transform the lore into a musical piece that captured the lore’s essence.

La Zandunga

TEXT: La Sandunga song lyrics:

Sandunga

Sandunga mamá por Dios

Sandunga no seas ingrata

Mamá de mi corazón

Ay Sandunga, Sandunga mamá por dios

Sandunga no seas ingrata

Mamá de mi corazón

Antenoche fui a tu casa

Tres golpes le di al candado

Tu no sirves para amores

Tienes el sueño pesado

Mi Sandunga, Sandunga mamá por dios

Sandunga no seas ingrata

Mamá de mi corazón

Me ofreciste acompañarme

Desde la iglesia a mi choza

Pero como no llegabas tuve que venirme sola

Ay Sandunga, Sandunga mamá por dios

Sandunga no seas ingrata

Mamá de mi corazón

A orillas del Papaloapan

Me estaba bañando ayer

Pasaste por las orillas y no me quisiste ver

Ay Sandunga, Sandunga mamá por dios

Sandunga no seas ingrata

Mamá de mi corazón

INFORMANT DESCRIPTION: Male, 83, Mexican

CONTEXT: My grandfather played this song for me. I had recognized it from my entire childhood so I asked him to explain it to me. It is a very traditional Mexican folk song specifically from Oaxaca. He explained to me that although the song is very old, from the mid 1800s, it is a symbol of freedom. It appears to be about a woman but is really about the Isthmus of Tehuantepec, in Oaxaca. He said in Oaxaca people sing it all of the time, while working and doing chores, to each other at night, even to lovers. The actual word is zapotec, the native tongue, and means “profound music.” The song is a song from a man to a woman originally but has been molded and shaped to fit many context when speaking about something lost or something freed.

TRANSLATION: Oh! Sandunga, Sandunga by God woman!

Don’t be so ungrateful Sandunga, woman of my heart.

Oh! Sandunga, Sandunga by God woman!

Don’t be so ungrateful Sandunga, woman of my heart.

Last night I went to your house,

I knocked three times by the door knocker,

You’re no good when it comes to love,

You’re deep in sleep.

Oh! Sandunga, Sandunga by God woman!

Don’t be so ungrateful Sandunga, woman of my heart.

You offered to accompany me

From church to my house,

But you never came,

And I had to come back alone.

Oh! Sandunga, Sandunga by God, woman!

Don’t be so ungrateful Sandunga, woman of my heart.

At the edge of the Papaloapan

I was bathing yesterday,

You passed by the edge (of the river),

And you didn’t want to see me.

THOUGHTS: This song is very beautiful by the artist Lila Downs but seems to be just as compelling by any singer due to its heartfelt and emotional qualities. It seems this variation truly encompasses its folklore and makes it very interesting to listen to every time and by different singers.

Link to other variation: https://www.youtube.com/watch?v=CV4Ot_fYRb4

Pombinha Branca

S. is a 55-year-old female Brazilian immigrant from Sao Paolo and the rural vineyard areas of Brazil. She has lived in the U.S. for about seven years. She says this song was popular around the rural areas and her mother sang it around the house as she cleaned.

This was near an area in San Antonio with a large Brazilian population around all the Brazilian steakhouses. We were picking her and her family up from their work.

Pombinha branca, que está fazendo?
Lavando roupa pro casamento
Vou me lavar, vou me trocar
Vou na janela pra namorar
Passou um moço, de terno branco
Chapéu de lado, meu namorado
Mandei entrar
Mandei sentar
Cuspiu no chão
Limpa aí seu porcalhão!

/

Little White dove, what are you doing?

Washing laundry for the wedding.

I’m going to wash up, I’m going to get changed,

I’m going to the window to flirt.

 A young man in a white suit,

 Hat tilted to the side, my sweetheart,

 I had him come in,

 I had him sit down He spat on the floor.

 Clean up your filth there,

Have better manners.

Pombinha Blanca is a folk song or traditional lullaby sung in a playful key that quickly turns furious both in tempo and key after the “spitting on the floor.” S. mentioned the lullaby reinforced some funny gender norms, encouraging harmony, but presenting the consequences of masculinity spilling over into sloppiness. In this entry, the folk song intended for children indirectly teaches gender norms just as Oring cites in his chapter, Children’s folklore in Folk Groups and Folk Genres. After establishing the social norms of feminine presentations and its rituals.