Author Archives: Ann Ngo

Warli Paintings

Background provided by MN: MN is an individual who grew up in the Maharashtra state of India, where they learned 4 languages including Sanskrit. They recently moved to America for further education. 

Context:  As we were talking about different types of folklore, MN shared this information about this particular Indian tribal art that originated from their state in India. 

Main Piece Transcription of interview (contains the context of particular performance and additional background information): 

MN: “Warli paintings are also from where I am from, Maharashtra. There is a mountain range in Maharashtra called sayandrit (spelled Sahyadri) and it … originated there. And it is tribal art. Like tribes, there used to make this art and I think … there’s prehistoric caves … umm … like huge … huge prehistoric caves, the most significant of them are arjenda (proceeds to spell A-j-a-n-t-a and E-l-l-o-r-a) and alura I think they are UNESCO historic sites and they have … like … they’re approximately 2 BCE. They have this temple (gestures towards photo on UNESCO website) … it’s almost like a Buddhist temple … and they have closed entry there now … because it was a tourist location where you can see the paintings and stuff. And if you look online you can still see the color and stuff. It has these … like geometric shapes … this is like the feature of it. Almost like what kids draw, but there is a lot of imagery of the sun … and people dancing. In most of the Warli paintings, you will see the sun … and people dancing in a circle. It is kind of … a design choice.”

Me: “I kinda have a couple follow-up questions about the paintings with the Warli paintings. Like did you have a favorite … or like did you ever … like … interact with one … that kinda changed  the way you see things?”

MN: “ Ummm … not really, this is not really … uhh .. it’s a very abstract design. It’s not the same everywhere. Uhhh … it’s not like a particular painting or anything .. just specific features of this painting. It’s a … type of painting … I’d say… a stylistic choice.  So there’s not a particular one that I… but I do remember a restaurant having one mural … it was all the whole wall. 

Analysis: This type of folk art that MN had informed me about was very interesting because it first belonged to a very niche group, but transitioned to a UNESCO world heritage site. MN provides their unique perspective as a local emphasizes that Warli paintings are an art style that has since transformed and integrated into contemporary times. The motifs in the Warli art style continue to be adapted in the contemporary pieces, as MN mentions. The Warli paintings are connected largely to the Buddhist belief system and this connection could explain its prevalence in modern art. MN explained that the most common motifs are the Sun and the dancing people, which are very telling of a culture that values warmth and community. The Sun is often associated with masculinity, warmth, and energy. The geometric people suggest that modern Indian society is heavily influenced by dance.

MN recounted that Ajanta was once a tourist attraction, but later, UNESCO protected the cave to preserve India’s art history. After it turned into a UNESCO site Ajanta was no longer to be enjoyed by the general public and access was restricted. The Warli paintings are folk art that can no longer be enjoyed in person, which could have hurt the local economy. Tourism is the largest market and when UNESCO protected Ajanta, it also destroyed tourism. The locals were no longer able to visit the site either. This restriction could also explain the prevalence of Warli painting motifs in more contemporary pieces, such as decor in a restaurant as MN mentioned.

For more information about Ajanta, as well as visuals please visit the UNESCO website: https://whc.unesco.org/en/list/242.

Shaving Head after Father’s Death

Background provided by MN: MN is an individual who grew up in the Maharashtra state of India, where they learned 4 languages including Sanskrit. They recently moved to America for further education. This is a practice of MN’s specific culture, Hindu Brahman.

Context: As we talked about certain funeral proceedings, MN shared this information about the mourning period. This piece was collected in the early morning at the university as we were conversing about different cultural practices.

Main Piece Transcription of interview (contains the context of particular performance and additional background information): 

MN: “And also …like  if your father dies, the eldest son … who’s a boy … they cut their hair. Not completely … no actually … completely. If the mother dies, it’s the second son. 

Me: “What if you don’t have a second son?”

MN: “ mmmm … if you have a second son.” 

Me: “So let’s say you only have one son.”

MN: “The eldest son can choose to. They have a choice. It’s not compulsory, if you’re religious then you do it. Like … when my grandfather passed away, my uncle did it. It’s all a choice.” 

Analysis: This particular Hindu ritual is very interesting because it seems like a very spiritual and religious tradition. MN emphasizes two important aspects of this tradition: choice and religion. The son is not obligated to complete this ritual but is given a choice to perform it. In addition, the son can choose to perform this ritual based on his religious beliefs. The completion of this particular ritual is dependent on the son. Sons are not forced to complete this tradition, which emphasizes how it changes 

Another interesting aspect of this traditional ritual is the birth order of the performer. The eldest son is often seen as a great authority figure while the second eldest is perceived as a lower authority figure. This is telling of a patriarchal society that places higher importance on male heirs and their duties. The eldest son is seen as an authority figure, which is similar to how fathers are considered to be head of the household. After the father dies, the eldest son can choose to shave his head to commemorate his late father. Correspondingly, the second son can also shave his head to honor the death of his mother. The second son can be considered to be the support for the first son, much like mothers support their husbands. This ritual is only a portion of the funeral rituals that are performed by grieving loved ones, which reflects Indian values of family and tradition.

Bake Your Own Cookie

Background provided by NN : NN was born and raised in Southern California. They were raised in a Chinese-American household and experienced many different forms of folklore. 

Context: NN was approached about folklore, they conveyed it through a telephone call. NN says that her father tells this tale whenever they are lazy. They also revealed that this particular folklore had evolved to be a joke after they learned how to cook and bake. 

Main Piece Transcription of interview (contains the context of particular performance and additional background information):

NN: “ So … like … my dad tells me this story … ALL the time. He usually tells me … when he thinks I am being … lazy, or whatever. The story kinda … always begins … with “There was once a rich man” (accompanied by air quotes) who had … like everything done for him. He never had to … umm … lifted a finger … like AT ALL. Servants … wiped his butt, like … fed him,  they did everything for him. (Pauses for effect) One, day, after he got married his, ummm … wife had to … like … uhh … visit her family for the … the … holiday. She baked her husband  a large cookie, and like put in on … a … string  and put it on around his neck. AND she left to visit her family … for … like a week. When she came back home,  she …  her husband was dead.  Like … he was in the same position … like when she left him … and like the cookie around his neck was not eaten. He was too lazy … to even lift the cookie … to like … eat … so he died. My dad would always say something, like … (deepens voice to imitate their father) “See … work won’t kill you, but being lazy will. Do you want to have someone bake your cookie for you … or what.” 

Analysis: This particular short story is has morbid humor. The laziness of the man is obviously dramatized to highlight the importance of hard work. It seems like the story is told orally and had even evolved into a joke amongst close family members. The moral of the story remains despite the context of the perfomance. It also acts as a representation of Chinese values. The lazy man can also be interpreted as subtle commentary on the partriarchal society. The wife had provided substance for her husband, but his choice led to his own demise. Another interesting layer to this tale is the financial component; the lazy man had never done anything for himself because he had the financial means to outsource all his tasks. This tale could have originated from the working-class as way of encouraging their chidren to embrace work instead of focusing on the scarcity of money.

Eritrean Wedding Dancing Tradition and Money

Background provided by DG: DG was born and raised in Redlands, California. Both of their parents were born in west Africa, but more specifically Eritrea. Eritrea is located on the Horn of Africa and adjacent to the Red Sea. They belong to a specific tribe of Eritrea, called Blen (spelled Blien). DG also identifies as being part of the Habesha ethnic group, which describes Roman Othodoc Christians in West Africa. After war broke out, both of their parents migrated to America. 

Context: DG was approached about folklore, which they shared in the middle of the day. They were very enthusiastic about sharing parts of their culture because not many people are aware of Eritrean tradition and culture. They explain a specific Eritrean wedding practice involving money and dancing. 

Main Piece Transcription of interview (contains the context of particular performance and additional background information):

DG: “ During the wedding … like the whole time … like if you’re dancing really well … they like stick money on you. And, typically … people like … really favor the bride and the groom … and like the bride and grooms’ parents … cause they’re like the ones that … spend the money. Ummm …. And they’ll just … like stick money on your forehead … or on your shirt … or whatever. That means … like you’re dancing … well … they do that the whole weekend.” 

Analysis: This custom is indicative of many Eritrean beliefs and values. One of them being is art of dancing. Dancing is often considered it own language because it conveys emotions and attitudes in a very physical and performative manner. DG explained how this custom rewards great performances, but seems to place an emphasis on recognition amongst peers. Another Eritrean value is the supportive community. DG explained how many would favor the groom/ bride and their parents because they are spending money on the wedding ceremonies. The whole community comes together to not only suport the union of two individuals, but also provide some form of financial support in a possible time of need. Lastly, it seems like Eritrean people are very physically affectionate. They are not shy about showing their appreciate to others who are dancing well by placing money on others.

Eritrean Wedding Day 1: Day of Blessings

Background provided by DG: DG was born and raised in Redlands, California. Both of their parents were born in west Africa, but more specifically Eritrea. Eritrea is located on the Horn of Africa and adjacent to the Red Sea. They belong to a specific tribe of Eritrea, called Blen (spelled Blien) After war broke out, both of their parents migrated to America.

Context: DG was approached about folklore, which they shared in the middle of the day. They were very enthusiastic about sharing parts of their culture because not many people are aware of Eritrean tradition and culture. They explain some general details about Eritrean weddings, which span for a minimum of three days. 

Main Piece Transcription of interview (contains the context of particular performance and additional background information):

DG: “ So, the first day is … like … the day where they get married, where the bride and groom get blessings from their elders. Ummm … typically there’s A LOT of dancing. It’s like … shoulder dancing (raises shoulders up and down, almost like  shrugging)  … and like … they like kneel over their ancestors … and do their … like prayers.  They also dance with a stick like this (proceeds to pump fist in the air in a very rhythmic manner) … but there is also at one point …. I don’t know the cultural significance of it … but the bride and the groom … individually … like sit and everybody dances around them and they get this white blanket … it’s called a Gabi (proceeds to spell G-A-B-I). And they’d have someone sit with them … so for … like the bride, a little boy sits with them … and like the groom … a little girl sits with them … and they take the Gabi and throw it over (motions as if casting a net over an object) … and like that I guess. You go up … like that … and put it on like that … while you’re singing.” 

Me: “ So … is the Gabi … like … a cloth … or … is it ….?” 

DG: “It’s like a blanket. It’s … like handmade … I wanna say it’s like a cheese cloth, but like … it’s not … it’s cotton. It’s … like … multi-use. It’s like bringing .. the bride and … groom together like bringing the bride and groom over the threshold … or something like that .”

Analysis: This portion of an Eritrean wedding emphasizes the union of two individuals through symbolism and customs. The Gabi seems to be a tangible unifying object that close family and friends use to represent their approval. It seems like past, present, and future is represented in this ceremony. Ancestors are honored and respected. The married couples celebrate their union with loved ones. The young boy and girl who sit next the groom and bride are symbolic of future happiness either to have children or for the children to be happily married.

For more information about traditional Eritrean weddings including images please visit https://omar-safeer.blogspot.com/2014/08/wedding-tradition-in-eritrea.html.