Tag Archives: Folk song

Serrano and Cahuilla Dragonfly Song

Main Piece:

I: It’s called the Dragonfly Song, it’s like a lullaby kind of song– so you sing it, and like if your heart is good, and it’s like– you don’t have anger or resentment or like bad feelings, or revenge, or any of those things– but like basically if you have good intentions like a good heart and you sing it dragonflies will come to you and they’ll sit on you. And like it’s really neat to like see it happen, like– they’ll fly around you and then they’ll come fall on you. And, they’ve never like… landed on me because (indicates that she is referring to the good intentions) but like I’ve seen like them go to other people. And so it’s like a really neat– I think people do it with hummingbirds too, but like it’s– so, it’s a lullaby that repeats the 4 verses over again, but the lullaby verses are like “Ooshkana ooshkana oh oh, ooshkana oosh” (these lyrics are typed out phonetically). And it repeats in different variations four times and you have to sing it in verses of 4.

Background:

My informant is a good friend from high school. She is a part of the Cahuilla and Chippewa Indigenous Nations and explains that she learned this Dragonfly Song from a Serrano elder, though it was not the first time she had heard it. She believes that her mother might have sung this lullaby for her when she was a baby. She explains that her parents were actively involved in Indian Country, working with Native children in the community, and her father was the director of a foster care agency that was specifically for Native Youth but also worked with rehabilitating families. She says it was probably during one of their group sessions with the youth where Ernest Siva, the Serrano elder, was a guest and sang this song. This song is meaningful to her because of the symbolism of the dragonfly as a messenger from the spirit world.

Context:

This is a transcript of a conversation between my friend and me over the phone. I have talked to her a few times about my folklore class and explained the collection to her. She was happy to help and talk about some of her traditions.

Thoughts:

My friend and I have talked often about our respective traditions with each other, but there are so many that we have not talked about in detail. This is the first time I learned about the Dragonfly Song and thought it was beautiful. She explained to me that in Cahuilla culture, the dragonfly is thought to be a messenger from the spirit world, and thus, is the connection of the physical world to the spirit world. The need of having a good heart and good intentions in order to attract dragonflies when singing this song illustrates how the spirit world is regarded in Cahuilla culture: healing and nourishing. Its purpose as a lullaby also indicates the importance of children and the youth, as being able to sing this song and attract dragonflies (proof of having a good heart and good intentions) to soothe a child transfers the positive energy and intentions to them.

For more on the Dragonfly Song, see:

Siva, Ernest. Voices of the Flute: Songs of three Southern California Indian Nations. Ushkana Press, 2004.

Eyes of Texas- UT Austin Anthem

Main Content:

I: Informant, M: Me

I: So the Longhorns [University of Texas Austin] founded in 1881, have a song called the Eyes of Texas which was originally more of a baudry song sang by crooners and country folk. We adopted that and we sing that at the end of every game [football]. Win or Lose, when everybody is exiting the stadium the Longhorns put their horns up, this is the symbol for the horns [I love you in American Sign Language but thumb is wrapped in on top of ring and middle finger-in order to make the horns of a Longhorn] and we sing “The eyes of Texas are upon you, all the live long day” and at the end of it, it says “the eyes of Texas are upon you, til Gabriel blows his horn” 

M: Uh-huh

I: Gabriel is the angel in heaven and is the god of war, the angel of war. So we chant that at the end of every game to send everybody off the field. There is a whole tradition behind that, that is carried only by the Texas Longhorns

Context: My informant went to the University of Texas Austin and was a proud Longhorns fan and football supporter. Thus, he went to many games and participated in this custom.

Analysis: An important distinction to make here is that the song, “The Eyes of Texas” is not the folklore here. That song is copyrighted ‘authored literature.’ What is folklore however is the practice of using that song along with hand gestures at the very end of each football game. The performance of the song with the Longhorns ‘sign’ and rest of the supporters is the actual piece of folklore. This displays how authored literature can be taken and made a part of folklore. This performance allows for a display of pride in their identity as Longhorns, especially that this is done no matter if they win or lose to send their players off the fields. It’s as if to say, we support you and are proud no matter what.

La Cucaracha – Spanish Folk Song

Context:

Informant JA was an undergraduate student at the University of Southern California at the time of this collection. JA was born in the San Francisco Bay Area, but their dad’s side of the family originates from Mexico. When JA was young, their great-grandmother would sing a Spanish folk song while playing a game with JA when they were about three years old. I spoke with JA to see what they could remember about their experience with this song.

Text:

Lyrics:

“La cucaracha, la cucaracha, da-na-na-na-na-na-na” (repeated until game was over)

Accompanying Game:

While JA’s great-grandmother would sing La Cucaracha, she would hold her arms out in a circle with her hands holding each other almost like a basket. JA would run in a circle in front of their great-grandmother, and when she was done repeating the lyrics, she would put her arms down to try and capture JA while they were within her basket-like arm positioning. If she caught them, she would tickle them. If she did not catch them, JA would win the game.

Analysis:

Hearing about JA’s experience with this folk song and its accompanying game allowed me to consider how it might connect with the role Hispanic/Latina (great) grandmothers play when it comes to sharing cultural traditions and information to younger generations. By singing this song, she is providing entertainment for young JA while simultaneously fulfilling the responsibility of transmitting their shared Mexican culture. In pairing this song with a game, JA’s great grandmother, is perhaps teaching JA that they can partake and enjoy a culture that might feel distant from them as a Mexican American growing up in a suburban area. The performance of this folk song in this context captures the the desire to connect singer and listener to one another all while sharing an aspect of Mexican culture.

Καλαματιανός/Kalamatianos (Song)

DESCRIPTION
Καλαματιανός (Kalamatianos) is a greek folk song that is performed alongside a folk dance with the same name. It is performed in a faster Syrtos, 4/4 rhythm.  It is commonly performed at festivals, parties, and Greek nightclubs.

“Καλαματιανός is a song with loose instrumentation, but more consistent lyrics that we’d dance to back in Greece.”

MAIN PIECE
ORIGINAL SCRIPT
Μήλο μου κόκκινο, ρόιδο βαμμένο
Μήλο μου κόκκινο, ρόιδο βαμμένο
Γιατί με μάρανες το πικραμένο
Παένω κ’ έρχομαι μα δεν σε βρίσκω
Παένω κ’ έρχομαι μα δεν σε βρίσκω
Βρίσκω την πόρτα σου μανταλομένη
Τα παραθυρούδια σου φεγγοβολούνε
Τα παραθυρούδια σου φεγγοβολούνε
Ρωτάω την πόρτα σου, που πάει η κυρά σου;
Κυρά μ’ δεν είναι ‘δώ, πάησε στην βρύση
Κυρά μ’ δεν είναι ‘δώ, πάησε στην βρύση
Πάησε να βρει νερό και να γεμίσει

ROMAN SCRIPT
To mílo mou eínai kókkino, roz vamméno
To mílo mou eínai kókkino, roz vamméno
Dióti me pikría to pikró

Páo kai érchomai allá den boró na se vro
Páo kai érchomai allá den boró na se vro
Vrísko tin pórta sas kleidoméni

Ta paráthyrá sas lámpoun
Ta paráthyrá sas lámpoun
Rótisa tin pórta sou, poú pigaínei i kyría sou?

I kyría den eínai edó, pígaine sti vrýsi
I kyría den eínai edó, pígaine sti vrýsi
Pigaínete na vreíte neró kai gemíste to

TRANSLATION
My red apple, my maroon-red pomegranate,
My red apple, my maroon-red pomegranate,
Why have you turned me bitter?
I come and go, but can’t find you
I come and go, but can’t find you
I opened your door, and it always is locked.

Your windows are always lighted
Your windows are always lighted
I ask at your door, “Where’s your lady?”

My lady is not here, she is at the well
My lady is not here, she is at the well
She’s gone to drink water.

BACKGROUND
My informant was born in Anaheim, California, however, she spent most of her childhood on Greece’s Mainland, particularly in Thessaloniki. Both of her parents grew up and emigrated from Greece only twenty years ago. SK, my informant, learned this song from dancing to it at “glendis” (greek folk dance nightclub parties of sorts) in which this song was performed in a variety of different forms, but with similar lyrics. SK says that she believes it’s some sort of universal message and story based on unrequited love that no matter who you are, you can relate to.

CONTEXT
This came from a friend of mine from church in Southern California. I got this folklore from a zoom call with her while she was quarantined back in Greece. I asked her to explain some traditional Greek cultural cornerstones she knows as she ate breakfast.

THOUGHTS
I personally agree with my informant that it is a Greek song based in this idea of unrequited love. It’s universal and can be put into any style of greek music you are doing to a Syrtos beat, whether it is more modern or traditional. The way it talks about chasing someone that you can’t seem to catch is something we see in so many different culture’s folklore as this idea of reaching for something that is just out of reach is a universal truth of life. The way greek people have interpreted it into a song like this one that is supposed to be danced to is absolutely fabulous.

Red River Valley Folk song (lullaby)

Context: Context: SF is a USC sophomore studying journalism and he’s also my classmate in Anthropology class. I decided to have a zoom meeting with him and talk about some folklore from vermont. 

YM: Tell me some folklore 

SF: My mom use to sing a lullaby that her pops sang to her 

YM: Let’s hear it, how does it ? 

SF: Down in the valley, valley so low

Hang your head over, hear the wind blow  

Hear the wind blow blow 

Hear the wind blow

Hang your head over, hear the wind blow  

YM: Aww thats nice, do you know where it comes from ?

SF:I think it’s from the south west.. It’s definitely a folk song

YM: Does it have a name ?

SF: Yeah it’s called Red River Valley

YM: Awesome

Background info: SF was born and raised in Vermont. He’s from Irish, Scotish and German descent  and for the first years of his life his mom sang him a folk song to go to sleep. 

Analysis: This sounds like a typical soothing lullaby one would sing to a baby. It also runs in the family, SF’s mother who sang it to him used to hear it from her father and I imagine he also heard it from a parent. After having done some research this is a folk song  that goes by two names: Down in the valley, and Birmingham Jail. The song is an american folk song and a ballad. It’s interesting that this was passed down as a lullaby in SF’s family. The origin of the song is said to come from a Guitarist named Jimmie Tarlton who was incarcerated in an Alabama jail in 1925. Like all folk songs, the lyrics are sometimes changed depending on the artist that decides to record. For examples instead of using, “Hang your head over, hear the wind blow, “ artists have used, “Late in the evening hear the train blow.”  ****

For another version of this song, please visit, https://www.balladofamerica.org/down-in-the-valley/