Category Archives: Kinesthetic

Body movements

Tinikling (Filipino Folk Dance)

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Tinikling is a Filipino folk dance. Originating during the Spanish occupation of the Philippines, farmers would use bamboo traps to keep animals away from their crops.  However, the Philippine tikling bird was able to bypass the traps and reach the crops, which is what Tinikling is said to be named after. This dance itself mimics the movements of the tikling bird and was also created to deter birds from the land. There is also another legend associated with tinikling. When the Spaniards had colonized the Philippines, the native Filipinos were forced to work on plantations. As the story goes, those who didn’t comply with the orders from the Spanish leaders had to stand between two bamboo poles while they were clapped together and thus injured their feet. So, the Filipino people would jump to avoid this pain, and this form of punishment turned into a traditional folk dance in the Philippines. 

Context
My informant for this story is my dad (VG), who said he remembers hearing the story and seeing Tinikling performed for the first time when he was a kid.  The Filipino dance of Tinikling involves two long bamboo rods, at least six feet in length.  Two people play the role of clappers while the dancers stand between the bamboo poles.  The apparel of the dancers is often traditional Filipino clothing, for example, a Barong Tagalog for men.  The dancers will step and jump while the clappers continuously clap the bamboo poles together according to the rhythm.  My dad’s mom told him something about birds dancing or flying from branch to branch, and someone else had told him that birds were hopping to avoid bird traps.

Interpretation
I’m curious about the possible origins.  While both could be just as likely, it makes me wonder if they were both true but different sides of the same story, one more appropriate for younger audiences.  Or perhaps one or neither is perfectly accurate, and stories and embellishments were developed to accompany the dance.  Either way, Tinikling is an extremely impressive folk dance that requires lots of skill while also bringing Filipino communities together.

Namaz E Janaza

My informant is Pakistani and has lived in many countries worldwide, yet has deep knowledge of his culture and is very associated with certain events and occasions that occur in Pakistan.

Funeral Ritual:

This prayer, typically known as “Namaz E Janaza” is a common type of prayer “performed at funerals”. It is a ritual that has “existed in Islam for a very long time” and is “very important to our religion and culture.” The ritual is illustrated by a “group of people that are praying as the body is put in front of them” He states that it is because “everyone is praying towards god when the body is also there” conveying the influences of religion on their life. The informant also states that it is “the same Islamic prayer from the Qur’an that people read.” It is a widely known tradition in South Asia, specifically Pakistani culture when it comes to funeral rituals and events that must take place in order to properly bury a body.

Context:

The ritual is “always performed by men in a room separate to the women,” and the informant continues to assert that “they cannot be together and a woman cannot speak the prayer to the body” highlighting the strict nature of this ritual and the specific cultural customs on death and funerals. It is usually done in Pakistan but also occurs in other Muslim countries that still honour this method of performing the funeral ritual. It is a very important aspect of how the body is sent to heaven and is a pivotal step in “family healing using religion and ensuring they continue in heaven”

Analysis:

The religious aspect of funerals is very common in many cultures, however, in Islamic culture, the split of the men and women into separate rooms signifies the power that the prayer holds as it is part of their tradition. Death and prayer being portrayed in a ritual allow families to use the religious scripture provided to them as a mode of grieving their loved ones in a structural manner, making it easier on the family that is closer to them. Although, the formality of the occasion eliminates personalisation of the funeral and family members when burying and honouring the dead as they must follow the known written words instead of making them uniquely theirs, which is seen in other cultures. However, it is a religious and important part of their cultural identity, therefore, the prayer does not solely mark the death of an individual but paves a path to their god that they are praying to, following the practices of their culture and tradition as it is passed down.

Luddi

The informant is one of my Pakistani friends who has lived in many different countries, yet is very attached to the culture of his heritage and is very involved in the rituals, ceremonies and overall traditions that are tied to his roots in Pakistan.

Dance:

The informant describes this dance, the Luddi, as a “circular formation that people dance to”. This dance entails the “clapping of their hands and spinning in circles as they are still moving in a circle.” Although the dance is not usually performed for a certain scenario or moment, it is “usually done at celebrations and ceremonies like weddings and dinners with the family” who are brought together and dance to specific songs that link to the informant’s culture. He describes his times watching the Luddi as a “coming together when [they] have not seen each other in a long time” and celebrating the family or a certain event happening at the time. It is always performed in Pakistan when the entire family joins, his family always visits to “celebrate their cousins, aunts, uncles and all the elders that have given us the privilege we have” conveying the importance of the dance in Punjabi culture.

Context:

The Luddi is typically done with “the group of women in the family that are important to the celebration or occasions” and this can range from “family of the groom or bride in a wedding or the parents and siblings of the birthday person.” The joining together of the women in a circle gives them a chance to “celebrate in a space without the men involved”. Although it is usually performed by older women in the family, younger women around the age of the bride and/or person of significance are able to join the dance and “learn the significance of what it means to become an adult woman” in the family that has their culture embedded into their daily lives. Luddi is msot typically seen in the winter and spring when all the family members come back from their travels for the wedding season, therefore, it allows the women to not only celebrate the occasion but also the family and other women.

Analysis:

The formation of a circle as part of the dance highlights the cycle of their culture and the generations that come together to form a chain that connects. It is creating a personal connection between the women of the family in that certain moment, growing as the girls grow and join the dance to celebrate each other. The clapping of their hands emphasises the celebration of the occasion and also creates a unified sound that the woman can sing and dance to, establishing their heritage and Punjabi culture in the form of performance and expression of their joy into feelings. The incorporation of this dance at weddings, which is also presented to be an important and momentous part of the culture in South Asia, highlights how the family is the base of their culture and even the women have their own traditions and rituals that create unity. Furthermore, the circle growing highlights the chain of Punjabi women in the family growing and the representation of the elders teaching the younger traditions to keep the culture alive.

Mithai

My informant is a Pakistani male that has lived in many different countries across the world, yet his attachment to Pakistan and its culture plays a significant role in his life and how he lives.

Traditional Food:

Mithai is a “type of box or category of sweets” that exist within Pakistani culture. It is comprised of “different sweet treats and toffees that you give out to houses at the weddings.” He describes these sweets as a form of an invite for party favours that occur at the wedding. The sweets are often seen as a ‘thank you’ or token of appreciation and reminder of the wedding, they are the “staple sweets at Pakistani weddings”

Context:

The Mithai is usually made by certain stores in Pakistan that specialize in providing the sweets “on a large scale when they also are able to maintain the best quality” for the guests. Even though my informant is Pakistani and has seen these sweets at weddings and different family events that he has attended, it is “a general desi traditional sweet that also exists in India”. This sweet is provided before the dinner or reception as a sort of snack or small bite in order to keep the guests satiated and entertained for the long day of traditions ahead.

Analysis:

The incorporation of food into big events in Pakistan such as weddings allows the guests to feel like they are being cared for in a certain environment. It ties it back to their culture as the unified feeling of togetherness that is provided in the event is seen through Pakistani food as a whole which is usually made for sharing and family-oriented events. The ability that their culture possesses by bringing their families together with food allows them to maintain their connections with the children and set in place the values that they hold when prioritising family. Furthermore, this is seen in the wedding sweets as the guests are seen as part of the family and are given the opportunity to celebrate the day with the community whilst being fed and incorporated into a family tradition.

Swedens National Dance

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The Hambo

Context: 

Collector: “Give us a brief history on practice and use of the Hambo.” 

Informant: “The Hambo is Swedens national dance, and is a couple’s dance that originated in the late 19th century and became popular across Sweden and other Nordic countries. It is characterized by its graceful, flowing movements and the use of a gliding step that gives the dance a smooth and fluid quality. The music for the Hambo is typically played on a fiddle or accordion and has a lively, upbeat tempo. The dance is usually performed at traditional Swedish celebrations, such as Midsommar, festivals, and weddings. It is more often taught in schools as part of physical education and is sometimes performed by professional dance troupes.

Collector: “How did Hambo play a role in your life?

Informant: “Dancing is a very integral part of Scandinavian celebrations and ceremonies, symbolizing joy, unity, and tradition. My father made me start Scandinavian dancing from a young age, so it has just become a part of who I am. From this I have developed a tremendous appreciation for dance, which brings a joy I cannot obtain from anything else.

Analysis:

The Hambo seems to play a crucial role as a performance in the carrying out of many Swedish traditions, which makes sense since it comes from a nordic country. Sweden is a small nordic country, regions known for having rich, nationally recognized folklore. These countries typically weaponized folklore against the presence of outside, unwelcomed invaders during the 19th and 20th centuries. With this weaponization comes a greater sense of nationalism, and as a result, spurs the interconnectedness of its peoples and cultures. This way, countries like Sweden are able to act more like a single body, and strengthen themselves under their unity. Larger, more powerhouse countries like France, the UK, or the USA, did not require such weaponization for their strength was more industrial as opposed to cultural. This is why you see a weak, distilled presence of folklore within all of them.