Tag Archives: nature

The Heidelmann Lodge

Main Piece:

The following is transcribed from dialogue between my self, GK, and the informant DH.

DH: One of my favorite memories as a child was going to the “Heidelmann Lodge” with my family and getting to spend time with them. 

GK: Where is this lodge located?

DH: It is located at the Donner Summit, in Northern California. Trukee California to be exact, which is about a 7 hour drive from Los Angeles. 

GK: Tell me a little about the history of the lodge. 

DH: I think it was founded in 1947 by a man named West Heidelmann. It took about two years to build, and there were originally only 10 members at the time. It has always been a part of the San Francisco Nature Friends and now and days requires a membership for entry. 

GK: How does one become a member?

DH: It’s a pretty straight forward process. First you usually need to get a letter of recommendation from an active member. Then from there, you will be able to submit an application and have it reviewed by the board of trustees. And then if you get approved, you are required to put in five “work days”. This includes either cleaning the kitchen, cleaning the bathrooms, or working one of our special days such as: Memorial Day, July 4th, and Labor Day Weekends. 

GK: What is there to do there?

DH: In the lodge itself, you could play ping pong, cards, there’s a piano, board games, and many other things. However during the day, we are usually outside. Depending on the season, we will usually be skiing, or going down to Donner Lake. Both are only five minute drives from the Lodge.  

Background: The informant knows of this organization through his family. They have been members at the Heidelmann Lodge for over 50 years and have been going during the summer each year. This place means a lot to the informant because it is where he got to spend a lot of time with his cousins and other family members. In addition to that, today it serves as a great place to visit his brothers and sister and get to see his nephews and nieces. 

Context: The informant and I discussed this face to face.

My Thoughts: I feel like this place is so much more than a lodge to the informant. It feels more like a gathering place for families to get to see one another. In addition it also feels like a bridge for different generations of a family. For example, the informant went while he was a kid, and got to enjoy all of the amenities and the fun times with friends. Now, he brings his own son to this place, and I’m sure he feels the same way his dad once felt. I’m sure the two have shared many of the same memories in the lodge, as it has supposedly not changed much throughout the years. 

The Indian Paintbrush

Text: So there was this little Native American boy who was born. He was not as strong as the other boys though, so when everybody else got named cool names such a “strong arms” or “fast legs,” I don’t quite remember what he was named, but it was kind of lame. He was not cool. So he’s growing up and he’s not strong so he goes to visit the shaman chief person and the guy’s like, “Just because you’re not strong doesn’t mean you don’t have other talents. Like, you might have something else. I know you’re going to be great!” So this kid is like obsessed with art and painting and stuff, and he’s always been painting as he’s been growing up. So he goes up to the top of this hill one day and he sees this gorgeous sunset and he’s like, “I want to paint that sunset.” Then this vision comes to him of this woman who is like, “Go find a buckskin as white as this,” and she holds up a white buckskin sheet (because they used to paint on leather), “and when you do, paint the sunset on it.” So he’s looking around trying to find this buckskin sheet. He’s painting and he can’t quite find the colors that match the sunset anywhere, and he’s trying to put it all together but he’s having some trouble.  So finally he gets the buckskin, but he still can’t get the colors. So he goes to the hill and he’s like, “Help me I need assistance.” So the vision lady says, “Come back tomorrow.” So he does, and when he gets back to the hill he has the exact paint that he needs on the ends of all of these paint brushes that we’re left for him, sticking out of the ground. And he paints the sunset on the sheet and he leaves the paintbrushes up there and he goes down the hill, and he shows his people his painting. And they’re like, “This is the most beautiful thing I’ve ever seen.” And they go back up in the morning and there’s these new beautiful red flowers that are blooming all over the countryside. And the real flowers are called the Indian paintbrushes and that’s what the Native Americans in that area use for red pigment.

Context: SH is a born and raised Texan studying psychology at USC. Her time in the south led her to be exposed to many different stories with western flairs while she was growing up.  The myth above is a story that she remembers learning at a very young age, and can be assumed to be very specific to Texas, for SH was very clear that most Texas children know this tale. I was told this piece of folklore over lunch one afternoon.

Interpretation: Myths are weird, sacred stories about creations and how the world came to be. In this case, this is the myth of how the Indian Paintbrush flowers came into existence. They don’t have any real world value because they do not interact with our world. If they do, it is considered a miracle. They are held as sacred truths and blueprints as to how we should go about living our lives. Sometimes myths are not easily translated from one language/culture to another. The Indian Paintbrush, however, contains pretty reasonable circumstance that explain how the red wildflowers came to exist when considered alongside other creation myths that would be considerably more outlandish when viewed from a western perspective.

The Stone Ñusta (Princess) of Pisac

Original
“Okay, esta es la historia de una princesa, una Anusta Inca, y esta es la historia de donde es la abuelita, toda la familia de tu abuelita Elva, de Pisac.

Hay un cerro a que le dicen Apu, que decian que era el protector del pueblo, Pisac. La princesa, hija del ese entoces, el principe, el rey de esa zona, Inca, era unica hija. Y le dijeron que el unico que se podia casar con ella era el que construiera un puente de piedra en una sola noche, en el Rio Vivilcanota que esta a la orilla del cerro del Apu. La condicion era de que ella tenia que subir el cerro toda la noche mientras el novio construia el puente de piedra en el rio.

Mientras ella subiera, no podia mirar para atras. El el momento que ella mirara para atras, todo se convertia en piedra. El tenia que construir el puente, y ella tenia que subir el cerro. Esa era la condicion para que se pudieran casar.

Entonces, el principe que era del otro pueblo, y que el matrimonio de ellos iba a constituir la allianza de los dos pueblos, estaba muy enamorado de ella y dijo que el iba a intentar de hacer el puente en una noche. Entonces en la noche que el estaba haciendo el puente, el estaba casi casi terminando, y dice la leyenda que todo el mundo le silvaba, que ella escuchaba como que la gente la llamaba por su nombre y que le silvaba y ella no podia voltear. Pero cuando ya se estaba amaneciendo, ella sintio que alguien la llamaba mucho mucho mucho, penso que ya podia voltear porque ya estaba amaneciendo, y el todavia no habia terminado el puente. Y entonces cuando volteo, todo se volvio de piedra.

Entonces cuando tu te vas al pueblo de tu abuelita, tu ves a una princesa, que es como una formacion de roca y de piedra, y tu ves unas rocas en el rio, como si se hubiera hecho un puente que no se ha terminado, ya l final, una roca grande que dicen que es la estatua del principe.”

Translation
“Okay, this is the story of a princess, an Anusta Inca, and this is the story from where your grandmother is from, and your whole grandmother’s family, in Pisac.

There is a hill that they called Apu, and they say that it was the protector of the village Pisac. The princess, the daughter of this, at the time, prince or king of the Inca village, was an only child. And they told her that the only man that she could marry was a man who could build a bridge made of stone in just one night, in the river Vivilcanota at the shore of the Apu hill. The only condition was that she also had to climb the mountain all night, while the fiancé built the stone bridge at the river.

While she climbed she could not look behind her. The moment she looked behind her, everything would turn into stone. He had to build the bridge and she had to climb the range, that was the condition so that they could marry.

So, the prince who was from a neighboring village, and the matrimony of these two would constitute the alliance of the two villages, was very enamored by her and said that he would try to make the bridge in one night. So at night when he was making the bridge, he was almost almost done, and the legend says that everyone was calling her and whistling at her. And that, she would hear people calling her name and whistling and she could not turn around. But when the sun was rising, she heard someone calling her a lot a lot a lot, and she thought that she could turn around now because it was already a new day… but he had not finished building the bridge yet. And so when she turned around, everything turned into stone.

So when you go to your grandmothers village you see a princess, who is like a rock formation made of stone, And you see some rocks at the river, as if someone had made a bridge and had not finished it, and at the end of that, you see a big rock that they say is the statue of the prince.”

Context: The informant is my mother, a Peruvian woman whose parents both come from villages near Cuzco, Peru. She grew up in Lima, the capital and the most metropolitan city in Peru. Peruvian culture, however, is deeply rooted in pride about their myths and legends, and these forms of folklore are widely known. I actually inquired about Inca creation myths on my own, but realized that this is a prime example of folklore.

Analysis: I spotted some of Propp’s functions in this myth, as well as some of the classic elements of myths, as this is a fairly traditional structure for a myth just with a bit more detail.

Turkish Cricket Dance

P.N. – “Right now, I just realized how much of a theme Nature is in all of our dances.  Nature plays a huge part in our own understanding of the world.  It’s why we have these two characters, Karagoz and Hacivat, who represent the dichotomy of the city and the country, fighting.  There’s a reason why we have this constant back-and-forth of going from the city to the farmland.  I think the reason for this is that there are only a few really big cities in Turkey, and people who live there are very, very different from the people who live in the villages, and we have so many villages . . . Everybody comes from a village, and they move to the city.  Only the newer generations are from the cities.  On that subject, folk dancing has given me a deeper connection with nature. A more sub-conscious thing.  I didn’t see how it impacted me before.  I think Turkish culture teaches you to respect nature.  SO . . .”

-“There’s this dance where, again, we’re crickets; and we have these spoons that we click to sound like the chirping noises.  We dance in a circle together, kinda going around, to the music, and as it slows down the music breaks and somebody sings in the tone of a prayer.  Here, we bend down and click our spoons.”

And that connects you to nature how?

“I guess because we’re portraying nature.  It adds a much more mystical aspect to it, because, like, we have such a disconnect – especially now – with nature as an entity, because we use it more as a backdrop.  These dances help me keep nature here at the forefront.  Because; think about it, we exist because of nature, and I don’t think we focus on that enough.”

 

For me, this dance brings to light a very different topic.  While this person’s other dance reminds her of hardship and oppression, this one brings up thoughts of responsibility.  The environmentalist thought that everything we do counts, and that it is our duty as inhabitants of this planet to be mindful, is mightily prevalent here.  It makes me wonder how the idea of environmentalism, modesty, and perspective play roles in our everyday lives, as well as in our cultures. 

Rain Song from Living Earth Camp

Abstract:

This piece is about a rain song that is sung at Living Earth Camp when it hasn’t rain in awhile. It stems from “native” songs, but there is no evidence.

Main Piece:

“L: I went to like a nature camp in the years I was in middle school over the summer. So it was like a sleepaway camp, but it only lasted a week. And it was weird because it was mostly white people, but they’d be like “oh this is the ancient song, this ancient rain song.” I don’t think they realized how problematic it was. We had this one time when it hadn’t been raining lately, like we we in a drought or something, so they took us down to the river and said “so we’re going to sing this rain song.” So you sing this when you are splashing the water around and it goes like “wishita-do-yah-do-yah-do-yah, wishita-do-yah-do-yah-do-yah. Washa-ta-day-ah-day-ah-day-ah.” And you do that over and over again. And it actually ended up raining the next day.

C: Wow, so it worked?

L: Yeah, so now I have all this white guilt singing it.

C: What is the camp’s name?

L: Living Earth Camp. And it was or felt very spiritual and connected to nature. But it was still like a $500 camp for a bunch of kids to cover themselves in mud.

C: Where was it?

L: Like an hour away from where I lived, so still in Virginia.”

Context:

The informant is a 19 year old girl from Charlottesville, VA. She attended this camp for 3 years in middle school and learned this song the first year she was at the camp when she was in 6th grade.

Analysis:

Rain songs that are based on “native” traditions never seem quite genuine, but the intention behind them is interesting. I thought it was curious that a rain song has to have roots in “native” folklore, and not from somewhere else. This reminds me of learning of tourist items that were labeled as “authentic” or “native.” I think a lot of people try to go back to the roots of Native culture because of it’s connection to the Earth and spirituality. Though there is more to Native culture than that, in today’s popular culture that is what is most projected. Since children are little, we learn that there are certain things to sing to cause things to happen. When we want the rain to come, we sing things like this – the rain song, to bring rain. When we want rain to go away, we sing “Rain, Rain, Go Away.” It is important to recognize when songs are a bit problematic like the informant did as well.