Author Archives: Ian Cabeen

Per Spelmann

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Background:

My informant for this piece is an American of Scandinavian descent. He lived in Norway for a time during high school and learned the language while he was there. He also still keeps in contact with his host family from his time living there, and his son recently spent a year abroad there as well. he recalls this song fondly because “we used to sing [it] when our daughter was upset or crying, and it was the only thing that could get her to sleep.”

Context:

Per is a common older name in Norway, and Spelmann is a name too but it literally means “player.” In Norway, a classical or folk musician is called a spelmann. My informant learned the song living Norway in high school when he was learning folk dance, and when they were done dancing he’d “jump up and kick the hat off the stick!” To understand this song, it’s important to know that it is about a musician who had to trade his violin in order to feed his family. Here, he gets it back:

Main Piece

“Per Spellmann han hadde ei einaste ku, Per Spellmann han hadde ei einaste ku,

Per Spellmann (Player) had only one cow, (repeat)

Han bytte bort kua fekk fela igjen, han bytte bort kua fekk fela igjen,

He traded away the cow to get the fiddle back, (repeat)

Det gode, de gamle, fiolin, det fiolin, det fela mi!

The good, the old, violin, violin, that fiddle of mine, (repeat)

Per Spellmann han spelta aa fela hu laat, (repeat)

Per Spellmann played and the fiddle laughed

Saa gutterne dansa, aa jenterne graat, (repeat)

The boys danced and the girls cried.

Det gode, de gamle fiolin, det fiolin, det fela mi!”

Analysis:

This old Norwegian folk song tells us a great deal about the culture and beliefs of Norway’s people. Its basic concept–a man trading his violin to support his family and trading it back for his last cow–is not hard to understand, but it’s very valuable. It might seem that the man simply doesn’t love his family very much, but this isn’t the case. At first, he does trade away his instrument for them, showing how much he cares. But in the end, he trades his last possession of value–his only cow–to get his fiddle back. Although it’s sad for his family, the song shows that this culture values happiness over everything because life is nothing without it. This cultural value is still reflected in Norway’s present-day laws, which factor citizens’ happiness into other national measures of success, ensuring that the people are well taken care of.

The Fjøsnisse

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Background:

My informant for this piece is an American of Scandinavian descent. He lived in Norway for a time during high school and learned the language while he was there. He also still keeps in contact with his host family from his time living there, and his son recently spent a year abroad there as well. His family participates in this tradition every year and has neighbors do it for them when they leave town for the holidays.

Context:

The legends and myths of trolls are very strong in Norway. They’re supposed to be tiny little tricksters, like gremlins. They live in barns–specifically red barns–so you’ll see a lot of red barns in Norway and Sweden because they bring good luck.

Main Piece:

“On Christmas Eve you’re supposed to leave out what’s called ‘rømme grøt’ which is a porridge made with butter, cinnamon, and sometimes brown sugar. So on Christmas Eve the Fjøsnisse is supposed to come and eat it. If he eats it that means he’s happy with the rømme grøt you brought him, and he’ll bring you good luck–protect your livestock and barn for the year. But if he isn’t satisfied, he’ll cause mischief in your life for the whole next year!”

Analysis:

While this tradition is based around a belief in trolls, it also follows the principles of homeopathic magic. In leaving a bowl of porridge out for the Fjøsnisse, one is using the foods their farm produces in order to protect the sanctity of the farm itself. By using a part to protect the whole, believers in the Fjøsnisse practice homeopathic magic.

The Parking Prayer

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Background:

This short prayer was passed to my informant from her godmother’s great grandmother, who lived in long beach California, and was of western European descent. She claims that it has worked “98% of the time,” which is why she loves it.

Context:

The informant takes this prayer very seriously, hardly ever sharing it with anyone because “if everybody said it, the parking god wouldn’t listen anymore.” When this prayer is being used, it’s extremely important that it be stated before you get to your destination and see that parking is an issue. Additionally, it may only be used in extreme cases (i.e. a late flight, life or death situation, etc…).

Main piece

“Lord for us make radiant room.”

Analysis:

The thing that I find most interesting about this prayer is that my informant is not religious whatsoever. While I assume that she doesn’t actually believe in a parking god either, she genuinely believes in the sanctity and sacredness of the prayer. In this way, I believe–whether consciously or not–she is practicing the concept of chaos magick. Chaos magick is a practice that does not adhere to any religion or a specific set of spells or rituals. Instead, chaos magick relies on the idea that simply willing or believing something to be true can cause it to be. Thus, in saying this parking prayer, the user wills a parking spot to be emptied for their use.

Miss Mary Mack

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Background:

My mother, the informant for this piece, tells me that it’s a handclapping game she learned on the playground while growing up in Cloverdale, California during the 1970s. Additionally, she notes that it was one of her favorite games which is why she remembers it so well.

Context:

This handclapping game is played by singing the song below, accompanied by a rhythmic pattern of three claps–one during each of the three words in each line. My informant also stated that it can be played at twice the speed, or started slow and gradually increased; this version of the game is usually played as a competition, and the first person to make a mistake loses.

Main Piece:

“Miss Mary Mack, Mack, Mack

All dressed in black, black, black

With silver buttons, buttons, buttons

All down her back, back, back

She asked her mother, mother, mother

For fif-ty cents, cents, cents

To see the elephant, elephant, elephant

Jump the fence, fence, fence

He jumped so high, high, high

He touched the sky, sky, sky

And didn’t come back, back, back

‘Til the Fourth of July, -ly, -ly

Analysis:

This playground game could be as innocent as it sounds, or, like a great deal of other children’s folklore, could have some kind of metaphorical meaning. If this is the case, it sounds like miss Mary Mack is a young girl who recently lost her father, indicated by her mother’s dressing in all black. Following the same train of thought, the fifty cents she asks for could be the symbolic payment for the ferryman her father needs to pass through the underworld, as was popularized by the Greek myth of Charon. Additionally, the elephant touching the sky and not coming back ’til the Fourth of July could be symbolic of the girl’s father reaching heaven, subsequently being celebrated on the Fourth of July. For this last part to be the case, however, the song would have to have its roots in the Revolutionary War era, which could be possible.

Paiute Indian Cure for Warts

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Background:

As the main text of this piece describes, my informant learned this cure from a friend whose Grandfather was a Paiute Indian. Although he lived in a rural area between Cloverdale and Boonville, California, the man probably brought his knowledge of the treatment from somewhere in the Great Basin area that the Paiutes inhabited before genocide was committed upon them by white settlers.

Context:

This remedy was introduced to my informant by a childhood friend of hers who, upon seeing the wart on her thumb, asked to show her how to treat it.

Main Piece:

“So I had a wart on my bone of my thumb knuckle, and it would go away– I would get like the wart remover at the store, and I’d put it on and it would go away but it would come back. And my friend G who’s grandfather was Paiute Indian had these fish bones that he had saved when he was alive for just this process. Um–He had stored this fish-bone-jar in his pantry and he was long past but the fish was caught at the creek on their property and I believe it was a steelhead. And–uhhh–she told me that her grandfather told her if you take these fish bones and you put them in your wart, going in one side and coming out the other side in as many different angles as you could, the wart would fall off and never return. And so I did that and it looked like I had a little porcupine on my thumb and I had to put a Bandaid over it so it didn’t catch on things, but it eventually fell off with the fishbone spikes and it never came back!”

Analysis:

Because this treatment worked for my informant, it’s a perfect example of the effectiveness of folk medicine. While many people of Western society disregard the potential benefits of folk medicine, much of it promises value. Even though modern medicine is thought to be much more precise and successful than its folk counterpart, many folk remedies have undergone hundreds or thousands of years of trial and error. This has allowed their tradition-bearers to understand which natural compounds are good for use in medicine along with their specific applications, and which are not. Illustrating the idea I’ve just presented is the fact that many cures which we consider to be modern medicine are compounds synthesized from plants that are commonly used in folk medicine.