Monthly Archives: April 2019

Schuhplattler

Nationality: German
Age: 82
Occupation: Retired
Residence: Orlando, Florida
Performance Date: 3/2/19
Primary Language: German
Language: English

Main piece: Schuhplattler is a traditional style of Bavarian folk dance that includes lots of leg movement, stomping, clapping and slapping. The male performers wear Lederhosen and the female performers wear Dirndls. Modern performances of Schuhplattler can be seen at Oktoberfest in Germany, where many in attendance of the wear Dirndls and Lederhosen – a very good look. Schuhplattler dancers may also play the accordion in their performances, which is a nice addition.  

Context: The informant (BB) grew up in Schlesien (Silesia), Germany and immigrated to the United States when she was 24 in August 1960. BB and her husband, who was from East Prussia (now considered a territory in Poland), started a family of 3 children in Orlando, Florida and ran a greenhouse business until their retirement. BB is a devout Christian with Lutheran roots. She is fluent in both German and English. Our conversation took place by the fireplace in my home in Atlanta. Interestingly, the informant never practiced, performed or watched Schuhplattler in her youth, since the Bavarian dance was more popular in the Southern part of Germany, and she grew up in the Northwest. However, when she immigrated to the U.S. and began attending the American-German society, many young German people were practicing Schuhplattler and putting on shows among their friends. So, she sent her three kids to Schuhplattler practice every weekend and accordion practice for 5 years (and they hated it). BB admires the dance because it was a tradition she wouldn’t have really been exposed to if she had stayed in Northwestern Germany.

Personal thoughts: There is definitely some irony in the fact that immigrating to a new country taught her more about her own country than living there, in some small ways. It goes to show the ways in which folk adapt traditions to new cultures, locations and time periods. Additionally, the Schuhplattler dance is a perfect reflection of the German people and their mindset – disciplined and refined, yet still lively and fun within those constraints. For external reference, see “Kolb, Alexandra. “The Migration and Globalization of Schuhplattler Dance: A Sociological Analysis.” Cultural Sociology, vol. 7, no. 1, 12 July 2012, pp. 39-55. ProQuest 5000. Accessed 20 Apr. 2019.)

Heiliger Abend

Nationality: German-American
Age: 53
Occupation: Chief Retail Sales and Bottler Operations Officer at Coca-Cola
Residence: Atlanta, Georgia
Performance Date: 3/1/19
Primary Language: German
Language: English

Main piece: In the informant’s family, they celebrate Christmas on Christmas Eve rather than the normal American practice of opening presents Christmas morning. They call this Heiliger Abend, or Weihnachten, which translates to Holy Night. When a family’s children are young, all gifts from family members were exchanged during Heiliger Abend, while gifts from Santa (mainly gifts to the kids) are opened on Christmas morning. However, if the of the children grow up and therefore move away from the Santa myth, each present gets opened on Christmas Eve. During Heiliger Abend, pierogi and potato salad is served, and whole family gathers together to sing Christmas Carols (both in English and German).

Context: The informant (DB) is a first generation immigrant from Germany; her mother is from Silesia, Germany, and her father is from what was previously known as East Prussia, so she is fluent in both German and English. She was raised Christian but does not consider herself very religious. She grew up in Orlando, Florida, has two kids, and currently lives in Atlanta, Georgia. Our conversation took place while eating quesadillas for lunch in our home in Atlanta. DB said that the custom of Heiliger Abend originates from her German roots, but that she adapted the traditions to her modern, American family. DB has kept the tradition alive because, as a child, it took her a long time to realize that celebrating Christmas on Christmas Eve was abnormal in the U.S – “it never occured to me that Christmas in the morning would be any fun anyway.” She feels very close to the rest of her family in Germany when she celebrates Heiliger Abend as well as her family in America, as the tradition feels intimate and unique. “As you get older, it isn’t even about the presents anymore – it’s about the experience.”   

Personal thoughts: DB does not perform some key traditional practices commonly associated with Heiliger Abend (i.e. placing a boot outside for Saint Nicholas on December 5th, attending a church service the morning of December 24th, ringing a bell to signal the arrival of presents), which perhaps speaks to the ways in which modernity causes individuals to shave down their traditions to make them more palatable or modern. However, DB has also added a tradition of her own that make her Heiliger Abend unique – Christmas Caroling, which is certainly not a simple or easy tradition to perform. Hence, maybe the informant is simply customizing traditions to her own liking rather than feeling forced to cut certain actions out; modernity can be used and viewed as a tool for evolution, rather than a weapon for deconstructing age-old traditions.

Allerleirauh (Donkey Skin)

Nationality: Korean-American
Age: 20
Occupation: Student
Residence: Los Angeles
Performance Date: 4/6/2019
Primary Language: English
Language: German

Main Text

Subject: So one day, it was like, in this kingdom, the queen is very ill, and she’s dying. And the king says…or she, the queen tells the king: I want you to promise me one thing, and it’s that if you get remarried, you will only marry a woman as beautiful as I am. And then she dies.

And then…for…the next, like, I’m going to say 20 years. but we know that fairy tales, and like way back when people were getting married at 15 years old, maybe 15 years. For the next 15 years, he did not get married. And, you know, eventually his advisers and like everyone in the court is like, okay, it’s time, like you’ve mourned for a really long time, but for the sake of the kingdom we need a queen again. Maybe it was because their only child was a daughter, and they wanted a son, or maybe they just need a queen. Maybe they just needed him to get out of mourning. But they tell him, it’s time, like you have to stop mourning, let’s get you married.

And so he has people search the kingdom and neighboring kingdoms and everywhere, for someone who’s as beautiful as his last wife, but he can’t find anyone. And as he’s despairing the fact that no one is as beautiful as his wife used to be, he hears someone singing or playing music outside, and he looks outside, and he sees a girl who he believes is as beautiful as his wife is. Problem is, that’s his daughter, who he hasn’t really seen, because he’s been like, mourning. There, but like, she’s his daughter, and he is aware of that fact. And he’s like, this is a woman who is as beautiful as my wife. If you want me to get married, I’m getting married to her. And the entire kingdom is like, no, you can’t do that you cannot marry your daughter, and the daughter is…

I read this in a really Christian context first. Like, the, the original version that I read “Donkey Skin” in was very Christian. And so the daughters is a very pious Christian girl, and she is like, horrified. She’s like, God will smite us down. Or I think, just like. Like that’s just a terrible, terrible precedent. Do not marry your daughter. Um…

And…so she is scared, of rejecting her father. Or, she doesn’t have the, like, the autonomy or authority to, because he has final say as king of the land. So, she gives him impossible tasks instead. And she’s like, I want you to first get me a dress that is as blue as the sky. And unfortunately he does, he like, hires master craftsmen, and this is a dress that truly captures a piece of the sky. And then she says I want you to get me a dress that is as golden as the sun. And once again he manages to like, defy her expectations, and she’s forced to admit that he has fulfilled the task. And then,  she says I want you to get one new dress that is as silver as the s—the moon. And he gets her the dress. Oh, the order is mixed up, I think it was sun, moon, and sky (the subject taps on the table as she counts off each of the dresses).

And then she’s like, okay. Like, I have to pull, like, a big one, I have to like, make sure he cannot do it, or else…like. It’s over. So she’s like, the kingdom is very rich and prosperous, because they have a donkey that shits out gold, twice a day. Or, jewels. And that’s like the biggest, that’s like the prize of the kingdom. And he has a place of honor, he has like a fantastic stable, and she’s like, I want you to kill the donkey, and skin it, and give me a cloak made out of its skin. In which case the donkey will no longer be able to excrete gold. And the kingdom will be over. And he does.

And so she’s forced to, like—she cannot escape that in any way. So she decides to flee. Um…

And then the French film on adaptation that I watched, well, I can talk about that at the end. There’s a fairy godmother in that one. But in most versions that I’ve read there isn’t a fairy godmother, which is why I like this one. Um…

So she dons the donkey coat, and…in her…like, her mother, before she passed away, gave her a few gift. Or, left her, bequeathed her a few gifts, which is a bag that could hold anything. So she puts the three dresses into the bag, a gold thimble, a gold, like, spindle, and a gold ring. I think? Yeah.

And, and this is where my memory gets fuzzy because I didn’t know what a spindle or thimble or whatever it was when I was reading this. So she puts those in the bag, and she flees the country. She…I might be giving this mixed up with All-fur, A-thousand-fur, Allerleirauh. She…is hiding in the woods, and the, like, in a neighboring kingdom, in a faraway kingdom. And the prince, sees like, this strange animal…and they’re like…they’re about to shoot, and then they realize it’s a person, and they’re like, what are you doing? Um…and…they take her back, and she like gets employment, in the castle kitchen. Where like, the cook doesn’t really like her, but makes her work hard, and she’s a good worker, so…you can’t really do anything.

And…there is a grand ball, where the prince is kind of seeking to get married. Or, just one ball. And, so, she rolls up in that golden dress…or she begged, she begs the chef, she’s like, please I’ve done all my work, can I have some time off? I just want to peek at the ball from the top of the stairs. I won’t do anything, like, they will never see me. And he’s like, fine. And this whole time, she’s still wearing that like donkey skins that people are like. (Subject whispers.) Are you a furry?

(The interviewer and the subject laugh.)

But they are like, okay, like something’s up with, you know. (Subject laughs). But…yeah (subject laughs), so she takes off her robes, she washes her face which she normally covers with soot, and she goes to the ball in her golden dress and she dances with the prince, and everyone is like, where is, it’s like, this is clearly a princess, she has all the training, where is she from? And…at…she disappears, um…and then the prince is like…darn. He’s like…also I want some soup. And he asks the chef to bring him some soup. And the chef is tired, and he’s like, and he’s—Al, er, Donkey Skin, All-fur, she’s like, I’ll make soup. And so she does, and she like, drops one of the gold items—I think it’s the spindle, into…into the soup.

And he’s eating the, the prince is eating the soup, and he’s like the, chef delivers it to the prince, and prince is eating to soup and he’s like, this is the most delicious soup I’ve ever had. Who made it? And he goes like—the chef goes like, me! He hits the bottom of the, like the bottom of the bowl, and he sees that golden item. And he’s like, what is this. And the chef is forced to admit like, I didn’t make it, let me get the person who made it. So now that it’s time to throw someone, someone under the bus, he’s like, okay, Donkey Skin made it, let me go get her. And the prince is like, what is this. And she’s like, I’ve never seen that before in my entire life. I don’t know what you’re talking about.

Um…so he gives up. But he decides like he wants to see the woman he danced with at the ball again, so he throws another ball. And she wears the silver dress. And they dance, and they have a good time, and then she leaves again. And that happens one more time.

Um…the third ball he throw—the chef is like, yo, like…you keep…doing like, he’s like, every time there’s soup, like something sus happens, like do not do that again. He’s like stop pulling the shit. And she’s like, yes, oh and like I promise. Um, she goes to the ball, in like her, in like her…I think it was her sky dress?

But I remember getting this confused, because I thought in my head that the most beautiful dress had to be the golden dress, which is the sun dress, just ‘cuz I liked gold as a child, I was like, blue is a pretty color, but how, like, like beautiful and amazing could that be in comparison to something as bright as the sun?

Though it’s not really important, what the order of the dresses were. So, she dances and he’s—the prince stalls. Like, he makes the orchestra play longer, and she’s like getting antsy, and she’s trying to leave, and while she’s distracted, he slips—I think the last item was a gold ring. And he slips the gold ring onto her finger. And she doesn’t notice. And then she leaves, but she—like because the ball was delayed, like the chef is waiting, he is like okay, he wants his soup like normal, but like where were you? She doesn’t have time, before she sees the chef, to take off her dress, before she puts on the like, donkey skin. So she throws the donkey skin over, and like, throws it on, but under she’s still wearing the dress.

And then, she…does the, drops the gold item in there again, the Prince calls her up, and then, as she’s like, taking the bowl I think, he notices the ring. And like, they take off her coat and she’s the princess, and she washes her face. And they’re like, she is like, yeah, so I’ve been a princess all along. And I think, as they’re about to get married…the news comes that like, her father has died in a fire. Like, shortly after she left, he went like, mad mad. Though he was already mad, and, he’s died in some accidental fire. So she’s now like, the ruler of two kingdoms.

Background

The subject is a 20-year-old Korean-American student at USC. She heard this rendition either online, or in an anthology. Reading during her leisure, she encountered several versions of the tale under different titles, most notably a German version known as “Allerleirauh” and a French film adaptation known as “Donkey Skin.”

The subject was raised deeply religious as a Southern Baptist Christian.

Context

The subject found this tale particularly memorable because, in her experience, most fairy tales she read never mentioned Christianity and God. She contrasts this to the French adaptation, where there is no God, and the princess is much more wishy-washy about rejecting her father. Replacing God as the voice of reason is a fairy godmother, who adamantly convinces the princess not to marry her father and flee the country. But it turns out, the reason why the fairy godmother insisted on this plan, was because she was romantically pursuing the father, who eventually comes to his senses in the film. The idea of the fairy godmother only intervening to stop the princess to marry the king for selfish reasons made the subject uncomfortable, and she wasn’t sure what the moral takeaway was supposed to be.

Interviewer Analysis

The central motif that catches the subject’s attention seems to be the role of Christian religion in preventing moral debauchery. By replacing God with a morally bankrupt fairy godmother, the French adaptation may have been making fun of God’s role in the German version of the tale, suggesting that even without the guidance of God, moral debauchery finds a way to solve itself. However, the subject mentions she prefers the version without the fairy godmother, suggesting that the subject probably prefers that debauchery be resolved through absolute moral guidance.

The performance of this tale is an aesthetic mashup of traditional and modern vernacular narrative style. On one hand, the subject seems to be striving to imitate the solemn, “traditional fairy tale” language recorded in her childhood readings, to speak in the fantasy medieval tone of once-upon-a-time. On the other hand, aware of her modern audience, the subject can’t seem to resist peppering her narrative with contemporary slang and humor. She seems slip into modern lingo when she wants to speed up or add excitement to slower parts of the narrative. Her dynamically chaotic performance of this tale is arguably unique to oral tradition. Other methods of narrative, such as the novel or the film, are too structured to permit drastic whiplashing between aesthetic styles.

What do you call a drummer with no car?

Nationality: American
Age: 58
Occupation: Musician/ Composer
Primary Language: English

Context: This joke was told to over the phone by an older relative of mine

Background: This relative has been teaching music for 15+ years at a small liberal arts college.

Q: What do you call a drummer with no car?
A: Homeless.

The joke is that drummers are typically underemployed, and may have to live in their car.

White Elephant

Nationality: Irish-American
Age: 20
Occupation: Student
Residence: Athens, Georgia
Performance Date: 3/15/19
Primary Language: English

Main piece: In White Elephant, each family member buys a gift – some are perverted, some are not – and they all go into a random pile. Everyone picks a number that determines what order people pick their gifts in. The person with number one will be the first person to pick a gift, and the next person in line can choose whether to steal that gift or take their chances with a random pick from the pile. If somebody’s gift is stolen, they can choose another gift in the pile or steal from another player. This continues down the line, and everyone besides the first person will get a chance to choose a new gift or steal any previously-picked gifts when their turn comes, until the end.

Context: The informant is half Irish and half American. Her mother’s side of the family is originally from and still resides in Atlanta, Georgia. Her paternal extended family live in Sligo, Ireland. She grew up culturally Catholic, but she does not consider herself religious. Our conversation took place in February on my couch at home in Atlanta after she began recounting her recent trip to visit family in Ireland. BN believes that the game originated in the the Southeast, as she originally learned of the game through her mother’s family. She’s always remembered it because they play the game every Christmas without fail, and the outrageous or sometimes provocative gifts are always memorable. BN cites the time her grandmother received a vibrating hairbrush, an innuendo that was laughed at among the adults without fully exposing the younger family members to “adult things” – after all, it is just a hairbrush, and no one is willing to let the impressionable children in on the joke.  

Personal thoughts: Oftentimes, people put extensive money, time and consideration into the gifts they buy their loved ones; modern society has convinced us that monetary value is one of the sole factors of worth. White Elephant forces people out of their narrow mindsets for what constitutes a good gift for someone. Gifts should not always be about giving a valuable or sought-after item, and this simple game teaches individuals how to appreciate a gift they didn’t necessarily want or ask for. It is about presently enjoying your time with your family, laughing at the unexpected moments, and going into a situation free of expectations. Moreover, while innuendo is often used to cloak satire or criticism, BN’s family uses innuendo to poke fun at each other in a lighthearted way, in which everyone bonds by sharing the same embarrassment, a concept reminiscent of practical jokes at weddings.