Tag Archives: Folk song

Bathtime Song

Text: “When I was little my grandma used to sing this song when we would get out of the bathtub ‘Jump down turn around, pick a bale of cotton, now jump down turn around, pick a bale of hay’ and she would do it while she would wrap us in a towel… it’s one of my core memories with her.’”

Context: The tune that C sings to is simple and easy to remember. C first heard the song from her grandmother, who spent the majority of her life in San Francisco, but recently passed away in San Diego, California at the age of 87

Analysis: Although C doesn’t recognize the song outside of the context of her grandmother, the following website: http://pancocojams.blogspot.com/2013/11/the-real-history-of-song-pick-bale-of.html walks through the history of the song. The original lyrics are much longer and include a chorus that rotates from person to person, beginning with ‘me and my buddy pick a bale of cotton,’ to ‘me and my papa pick a bale of cotton.’ Originally recorded as an African American work song the earliest records of the song is from 1933. The song continued to be passed down with several different versions throughout the 1930s, and eventually recordings in 1945 by Lead Belly:(https://www.youtube.com/watch?time_continue=1&v=pd5ViH_5598&embeds_euri=http%3A%2F%2Fpancocojams.blogspot.com%2F&source_ve_path=MjM4NTE&feature=emb_title). and in 1956 by Harry Belafonte https://www.youtube.com/watch?v=eQc2hgdAqGU&t=7s are also available. The 1956 version is more similar to the tune which C sings to, and potentially how C’s grandmother first heard the song. Although it uses the words “spin around” rather than C’s “turn around” in its lyrics. C’s grandmother likely sung her the song because the lyric “spin around” relates to twirling her grandchildren in the towel after their baths. It’s interesting how a song’s context and meaning for each person can change over time.

“Rasputin” by Boney M.: A folk tale song

Text

As soon as the interview began, the informant was in smiles. “It’s basically just a song,” they started. “It’s like a… It’s a song from the 1990s/early 2000s. And it’s like, about…” The smile grew wider. “It’s about Rasputin. He’s kinda known as like ‘the Mad Monk.'”

At this, the informant’s eyes squinted and their hands came up to form air-quotes around the phrase. Immediately after saying this, they chuckled at their own words. “So.. Yeah- have you heard of it? The song?”

I ensured them that I did. Still, we went through the lyrics together:

There lived a certain man in Russia long ago
He was big and strong, in his eyes a flaming glow
Most people looked at him with terror and with fear
But to Moscow chicks he was such a lovely dear
He could preach the Bible like a preacher
Full of ecstasy and fire
But he also was the kind of teacher
Women would desire

Hey, hey, hey, hey, hey, hey, hey, hey
Hey, hey, hey, hey, hey, hey, hey, hey
Hey, hey, hey, hey, hey, hey, hey, hey
Hey, hey, hey, hey, hey, hey, hey, hey
Hey, hey, hey, hey, hey, hey, hey, hey

There lived a certain man in Russia long ago
He was big and strong, in his eyes a flaming glow
Most people looked at him with terror and with fear
But to Moscow chicks he was such a lovely dear
He could preach the Bible like a preacher
Full of ecstasy and fire
But he also was the kind of teacher
Women would desire

Ra ra Rasputin
Lover of the Russian queen
There was a cat that really was gone
Ra ra Rasputin
Russia’s greatest love machine
It was a shame how he carried on

He ruled the Russian land and never mind the Czar
But the kazachok he danced really wunderbar
In all affairs of state he was the man to please
But he was real great when he had a girl to squeeze
For the queen he was no wheeler dealer
Though she’d heard the things he’d done
She believed he was a holy healer
Who would heal her son

Ra ra Rasputin
Lover of the Russian queen
There was a cat that really was gone
Ra ra Rasputin
Russia’s greatest love machine
It was a shame how he carried on

But when his drinking and lusting
And his hunger for power
Became known to more and more people
The demands to do something
About this outrageous man
Became louder and louder

Hey, hey, hey, hey, hey, hey, hey, hey
Hey, hey, hey, hey, hey, hey, hey, hey
Hey, hey, hey, hey, hey, hey, hey, hey
Hey, hey, hey, hey, hey, hey, hey, hey

“This man’s just got to go”, declared his enemies
But the ladies begged, “don’t you try to do it, please”
No doubt this Rasputin had lots of hidden charms
Though he was a brute, they just fell into his arms
Then one night some men of higher standing
Set a trap, they’re not to blame
“Come to visit us”, they kept demanding
And he really came

Ra ra Rasputin
Lover of the Russian queen
They put some poison into his wine
Ra ra Rasputin
Russia’s greatest love machine
He drank it all and said, “I feel fine”

Ra ra Rasputin
Lover of the Russian queen
They didn’t quit, they wanted his head
Ra ra Rasputin
Russia’s greatest love machine
And so they shot him ’til he was dead

Oh, those Russians

Context

RELATIONSHIP –
“It’s sort of weird– It’s a childhood favorite of mine.” The informant put a hand to their head and looked up in thought. “My mom is Polish. I think it’s the only song she listens to which could be kinda connected to Polish roots due to the content. Not really culturally relevant to her, but just ‘Here’s this song! You like this song?'” They smiled at the memory.

WHERE THEY HEARD IT –
“My mom introduced me to it. And then it became the song which we played whenever she would drop me off at school at stuff.”
They told me that listening to the song was almost a daily occurrence. It would be on a recurring playlist of songs they would play.

INTERPRETATION –
“It’s one of those songs where you never really think of the lyrics, and then you heard it and it’s like ‘Oh, it’s about the revolution in Russia and the weird mystical powers of this guy named Rasputin- and then people trying to murder him.'”
“I think the song is kinda of what you would think of as classic Russian dance music. In terms of oral storytelling, it’s not a historical event, but the weird tale of this guy. I think it’s supposed to not be comical in its presentation, but comical in how they present Rasputin since he tried to convince everyone that he was mystic. And they talk about the consequences of all of his actions and the people he ended up annoying. I think it’s more about putting him down than about finding a lesson. I think it’s also teasing Russians in general. I think it’s laughing with than laughing at, though. The main thing that this song capitalizes on is the womanizing.”

Analysis

The song Rasputin takes the life of the real man and retells the story in a way that makes it how like he is a mythical figure or a character of folklore. Aside from the phrase “long ago” which is frequently used in tales to begin the story, the song describes Rasputin as having mystical features such as flaming eyes, healing powers, and irresistible charm. Something else the song does is highlight Rasputin’s flaws and the reasons behind why some people wished for his demise and saying that they weren’t wrong for plotting it. This depicts him as being an unsympathetic character as emphasis is placed on his drinking, womanizing, and hunger for power. In this song, Rasputin’s life is spun to sound like a cautionary tale, warning people of the dangers of prideful thinking.

Ewiha Chant (Zalghouta): Folklore Song/Gesture

Text: Ewiha Chant (Zalghouta)

Context: AH’s relationship to this piece stems from his Lebanese culture which allows him to have various experiences as he heard this song/gesture within his childhood and early adult life. His relationship relates to his connection with his aunt as she is the specific woman in his family that is in charge of leading the performance. He typically hears this chant at weddings during the dinner portion of the event or after the ceremony. Within his family, they typically use this song/gesture as a Lebanese tradition as they wish good luck to the newly wed couple. Within the tradition, self-expression is evident as yells, screams, yodeling and ululations are present. AH interprets this tradition as a good luck charm and as a sign of felicitations as his family believes that if this song/gesture is not performed, it is considered bad luck on the newly wed couple.

Analysis: The overall cultural value within this song/gesture is based on the act of ululating (zalghouta) which is practiced all over the Middle East and in some parts of Africa. Given that this act stems from Lebanese tradition, it holds cultural values within women considering this song/gesture is typically done by women given they are the only ones that can perform an ululation which is a high-pitched tongue trill. I see this gesture/song as an overall expression of happiness, joy, and celebration. Considering that I have not experienced this tradition being performed, I believe that this song/gesture during family events is a momentous moment that is filled with positive affirmations as two families conjoin together where luck, love, and unity is emitted within the atmosphere.  

Korean Folksong 2: Dong, Dong, Dongdaemun

Entry 16: 

1) 

Original: 동, 동, 동대문을 열어라,

남, 남, 남대문을 열어라,

12시가 되면은

문을 닫는다.

Romanization/Transliteration: 

Dong, dong, dong-dae-mon-eul yul-uh-lah

Nam, nam, nam-dae-moon-eul yul-uh-rah

12 shi-ga dwae-myun-eun

Moon-eul dad-neun-da

Full Translation: 

Open the east, east, east great gate. 

Open the south, south, south great gate. 

When the clock strikes 12

The gates are closed. 

2) My Korean grandmother shared this song with me because it was associated with a game she played in elementary school. She said it was one of the things she looked forward to most everyday because it gave her a break to have fun in between discipline and learning. 

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.

4) This song is based off of a Korean children’s game in which two people form the “Dongdaemun gates” by making an arch with their arms while they sing the song. People keep circling through the gate until the song ends – the last two people who fail to make it through become the new “gate.” Both the East and South gates were major protectors of Seoul’s Royal Palace during the Joseon Dynasty. This song has its charm in that the idea of historical architecture which is hundreds of years old has been preserved and transformed into a game that is still played to this day. Folklore has the idea of creating great contrast – the gates were seen as a sacred protector that preserved Seoul during many grave invasions, but they are now referred to in a highly jovial context. 

Korean Folksong 3: choo-eun baram

1) 

Original: 

날 부르는 바람이 왜 이렇게 차가운 걸까?

차가운데 나에게 희망을 주는 것이다

날 부르는 바람이 날 어디로 인도하는 걸까?

이 차가움을 견디고 따라 갈 것이다

Romanization/Transliteration: 

Nal boo-reuh-neun ba-ram-ee wae ee-ruh-kae cha-ga-oon-gul-kka?

cha-ga-oon-dae na-ae-gae hee-mang-eul joo-neun-guh-shee-dah.

nal boo-reun-neun ba-ram-ee nal uh-di-loh indoh-ha-neun gul-kka?

ee cha-ga-oom-eul gyun-di-go dda-rah gal-guh-shee-dah.

Full Translation: 

Oh wind who’s calling me, why are you so cold? 

Despite the cold, you also give me hope.

Oh wind who’s calling me, where are you leading me?

I will endure the chill of your breeze, and follow you. 

2) My Korean grandmother introduced this folk song, called “cold wind,” to me because it was a song that she learned during middle school, but came to have great meaning to her after she immigrated to America in her late 20s. She said her decision to come to America made her scared, but she was willing to endure this fear for the possibility of a future as a nurse in the US. 

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) I connect this folk song to the Korean concept of ‘Han.’ Han is an emotion that connotes an accumulation of Koreans’ suffering over time. It is a very dynamic emotion that has a fierce color that could almost signal the energy and birth of new possibilities. I think the song my grandma sang connects to this concept because although it invokes the necessity of suffering along a certain road, it also signals that there should be hope that despite this suffering a worthwhile outcome could arise.