Author Archives: patricja

Prayer Before Performance

Nationality: Lebanese-American
Age: 19
Occupation: Student
Residence: Plano, Texas
Performance Date: March 13, 2016
Primary Language: English
Language: n/a

“The Rangerette Prayer was a very special prayer to our team, and we said it before every performance on the football field or dance competition or wherever we were or whatever we were about to do. We would get in a circle, and um cross our arms, right over left, and hold each other’s hands with one foot pointing toward the middle, facing the middle. Um and basically the um seniors and juniors would sing like uh the first part of the song and have the freshmen and sophomores imitate the second part, and essentially we had to learn it that way, we learned the song from the seniors and juniors. And the prayer was the Lord’s prayer and we sang it in a more dragged out kind of tone, and we were never really taught the tune, we just sort of had to pick it up from the juniors and seniors. We also had like a special ending that was, “In the name of the Father who created us, the spirit who sanctified us, and the son who redeemed us,” or something like that and then we all said Amen. It was kind of funny because the ending we all did not know very well because the seniors and juniors said it so quickly that we didn’t even really know what we were saying until much later.”

 

Informant: The informant is a nineteen-year-old college freshman from Dallas, Texas. While in high school, she was a member of the Jesuit Rangerettes Dance and Drill Team. She attended the all-girls Catholic high-school, Ursuline Academy of Dallas, the sister school of Jesuit Dallas (an all-boys Catholic school). She began dancing when she was three, performing ballet, jazz, and lyrical styles of dance, which eventually led her to the high-school drill team. She currently attends Oklahoma State University.

 

Analysis:

The Rangerettes Dance and Drill Team is an extracurricular activity unique to Texas and a few other southern states. The team performs at the half-time of football games on Friday nights, as well as at basketball, soccer, and rugby games. They wear leotards with fringe skirts, fringe and sequin overlays, gauntlets, a belt, white cowgirl boots, and sequined cow-boy hats. The season does not end with football season; rather, the team continues to perform at Jesuit events and participates in two dance competitions in the spring. Because this team is a year-long commitment, there are many extenuating traditions that serve to unify and “bond” the members of the team, in order to foster a spirit of sisterhood.

I think that this practice exemplifies the bonds that the members of the Rangerettes are supposed to have. Because members of the team attend an all-girls Catholic school, there is an emphasis upon prayer. By holding hands in a circle and singing a prayer, the bonds of the team are exhibited through this practice. The holding hands in a circle solidifies the bonds that hold a team together, and also represent the sisterhood that is supposed to be in place. A team cannot succeed if they are not unified, and by demonstrating their unity before a performance, they are striving to succeed in their performance. Also, if this ritual is not practiced before a performance, there is a possibility of failure or bad luck when the team performs. This once again reinforces the need for the team to be unified as they are dancing as one team and must be on count.

In addition, the manner in which the team members learn the prayer is representative of the way in which the team works. The older, veteran members, always juniors and seniors begin the prayer. This demonstrates their “seniority” and their authority on the team. They have been there before, and understand the importance of this ritual, and are in turn passing it on to the next generation of team members. As the younger, new members, always freshmen and sophomores, echo the seniors and juniors, they are reflecting their need to learn from the older members in order to become fully part of the team so that they might continue to pass down this tradition over the years. It is also interesting how the juniors and seniors never formally taught the prayer, but rather expected the new members to simply pick it up.

This may not be unique to simply the prayer ritual on this team, but could also extend to the rest of the ways in which the new members are expected to become acclimated to the team. The veteran members expect the new members to simply “pick up” what they already know, without overtly telling them. This could be concordant with rituals that decide who is “in” and who is “out” when it comes to members of the team, as well as the attitudes that older members generally had toward the new members. The idea that the older members were wiser due to their experience might have been carried out not just through this prayer ritual, but through other practices on the team as well.

Dabke

Nationality: Syrian/Lebanese-American
Age: 50
Occupation: Accountant
Residence: Plano, Texas
Performance Date: March 13, 2016
Primary Language: English
Language: n/a

So anytime there is a gathering of Syrian-Lebanese people, and um it’s a celebration of any type, there will be music playing, and the music has a very unique rhythm, usually a very strong percussion base, and so that lends itself to a lot of folk dancing, and the folk dancing is when the families, members of all ages, get together and hold hands and do a um a dance, and it’s a repetitive dance of about eight or twelve counts, and you just do it as long as the music is playing. So if you have someone playing, oh and the percussion I mentioned earlier is called a derveke, and uh used to be made of a wooden or metal drum with animal skin stretched on top, and it could make a really loud sound, so as long as the dervake is playing, you can dubke, so whether you have a full band or just a derveke, you can do the dubke. It is significant to me because well that if I don’t carry on the family traditions and teach my children how to do the dubke and the family recipes, it will die out and there will be no heritage.

Informant: The informant is a Catholic mother of five, of Syrian descent. She is from Kinder, Louisiana, where she grew up in a large family.

Analysis:

I believe that this tradition and practice of dance and folk music greatly exemplifies the communal aspect of the Syrian-Lebanese culture. The gathering of Syrian-Lebanese families is usually quite large, as extended families come together to celebrate. The music lends itself as a great example of the history of the culture, as the specific instruments that are used to play music in America are derived from or are the same as those that were originally played in that region. As the rhythm lends itself to folk dancing, the communal aspect of the culture is apparent in the holding of hands during the dance, and the need for each participant to be synchronized with the rhythm. Because it is a line dance, if one person missteps, it can interrupt the synchronization of those around them. It is also interesting how the repetitive nature of the dance movements demonstrate how the dance is learned, as anyone can stand up, hold the hand of the last person in line, and follow their steps that match the rhythm. This once again demonstrates the communal aspect and the importance of celebrating the Lebanese-Syrian community through dance.

I also thought it was interesting about the association of “heritage” with this dance. Because the dance is learned from other people and can vary from place to place and person to person, it is more of a tradition than heritage, especially because it is a mode of activity that represents the past. Heritage, on the other hand, is not an activity, but rather an inherited set of relationships about who you were in the past. So, this practice is a tradition that celebrates the past of Lebanese-Syrian cultures and in doing so, it is a way for the people who partake in it to acknowledge their heritage. I was also able to learn parts of this dance, as I was invited to partake in the tradition. This was a lot of fun for me, because the rhythm is very up-beat and perfect for dancing.

Annotation:

 

Proverb-Lebanese/Syrian

Nationality: Syrian/Lebanese-American
Age: 50
Occupation: Accountant
Residence: Plano, Texas
Performance Date: March 13, 2016
Primary Language: English
Language: n/a

“So my grandmother used to have a saying, “if you spit in the wind, you’ll get it back in the face,” um because she never wanted us to speak poorly of other people or say anything disrespectful or rude, so that was her saying.”

Informant: The informant is a Catholic mother of five, of Syrian descent. She is from Kinder, Louisiana, where she grew up in a large family.

Analysis:

This saying highlights the Catholic traditions of the informant and her family. In a stringently Catholic family, the way in which one treats another is especially important, as they are taught to love everyone as themselves. This saying exemplifies this Christian teaching, but also seems to have the influence of the Hindu tradition of karma. Although to the informant, the meaning is simplistic in that they shouldn’t speak poorly of others, the aspect of karma comes from “you’ll get it back in the face.” To me, this means that not only should I not speak poorly of others, but if I were to do so, I would feel the repercussions from my actions.

The proverb is also interesting in its literal interpretation. As this saying may also have originated from a region in which the weather conditions allowed for strong winds. If this were the case, then the saying in that context would have a sensible literal interpretation. If one were to actually spit into the wind, the spit would most likely return and strike them in the face. Therefore, the context and the literal sense of this proverb convey the message of not being rude so that one might avoid embarrassing or harsh repercussions because of the things that one says. This saying, as the informant learned it from her mother, could have been passed down through generations even if the weather conditions are not the same, and may continue, due to the fact that the underlying message is apparent.

Ka’ik

Nationality: Syrian/Lebanese-American
Age: 50
Occupation: Accountant
Residence: Plano, Texas
Performance Date: March 13, 2016
Primary Language: English
Language: n/a

“Ok so some of our um, uh traditions at Easter time in the Karam family where I grew up, and the Karam family is of uh, actually Syrian descent, and our family was Marinite Catholic and so we um followed Christian holidays and traditions. Ok so, a holiday tradition is to make a sweet bread called “ka’ik”(pronounced ka-yak) at Easter time, and my mother in law, used to always make it, and its like a dense biscuit, almost like a scone, and it has anise in it, which is sort of like the same flavor that licorice comes from, and she had a mold she would press it in before she baked it and they were kind of circular shape with an imprinted design on top, and then when they came out of the oven, she would pour just like a sugar water over it, I don’t think it had rosewater in it like the baklava, and uh so anyway we always had those at Easter time.”

Informant: The informant is a Catholic mother of five, of Syrian descent. She is from Kinder, Louisiana, where she grew up in a large family.

Analysis:

The context of this traditional food exemplifies the Catholic practices of this family that is of Syrian/Lebanese descent. Because they follow the Catholic Church, they celebrate the traditional Christian holidays. Cooking for these holidays is an important aspect of the performance of folklore, because most of the recipes are passed down from through the women of the households. The informant learned of this recipe through cooking with her mother-in law, demonstrating the close and important familial ties of this culture.

The significance of this dish is that it comes from Syrian/Lebanese styles of cooking, which is exemplified through the use of anise in the recipe. Anise can be found in the Mediterranean region, and is a spice commonly used in dishes that are derived from this region. This exhibits how baking, cooking, and sharing recipes with family members is an integral part of sharing culture. As the informant also stated that she felt it was her duty to teach her children how to cook the family recipes in order to continue the customs of her traditional culture, it is apparent that recipes like this carry a special significance.

I agree that this significance is the importance of passing down traditional practices through the kitchen as a way of extenuating one’s culture. I also think it is interesting how the women are the ones baking and cooking together. I believe that this comes from the Catholic/Christian influence in the family. Because the Abrahamic tradition is patrilineal, it is apparent that the women have traditionally been the ones in the home doing the cooking for many generations. This continues to be the case as recipes are handed down from matriarch to matriarch.

 

 

 

Claddagh Ring

Nationality: Irish-American
Age: 76
Occupation: Homemaker
Residence: Dallas, Texas
Performance Date: March 15, 2016
Primary Language: English
Language: n/a

“Part of our Irish heritage is the story of the Claddagh ring, and that was originated in a little place near Galway, Ireland and uh the Claddagh ring is generally made of gold or silver, it has a heart in the middle, with a hand on either side holding the heart, and there is a crown on top of the hear, and it symbolizes love, loyalty, and friendship. And uh, many people in Ireland use the Claddagh ring as a wedding ring, both for men and women, and uh its also a lovely gift to give people you love, and so for me, I have given Claddagh rings to my granddaughters, all three o them, and I think they like them very much, and I think its just a wonderful tradition.”

 

Informant: the informant was born in Chicago, and attended high school and college there, graduating with a degree in English. After marrying and having one child, she moved to Dallas, Texas where she raised three children with her husband. She is of Irish descent, her father being from Ireland, and her mother was born in Wisconsin after her parents moved from Ireland, and her heritage and tradition are very important to her. She is a grandmother of five children.

 

Analysis:

Something that is very dear to the informant is her Irish heritage. She feels great pride for her Irish descent, and does her best to demonstrate this by practicing several Irish traditions. I believe that the tradition of passing along the Claddagh ring to her grandchildren exemplifies this wish to preserve Irish traditions while showing how much she cares for her grandchildren. Despite the traditional sense of using Claddagh rings as wedding rings, in using it as a gift to her granddaughters, she is exhibiting her promise of love, loyalty, and friendship to them, as well as passing on a tradition, most likely in the hopes that her granddaughters will pass it on to their daughters or granddaughters.

The time in which the informant gave her granddaughters Claddagh rings is also significant. She gave the rings when each of the granddaughters had been confirmed in the Catholic Church. This is significant because the Irish are historically Catholic, thereby making Confirmation in the Catholic Church an important initiation ceremony. Because the granddaughters were “officially” and “fully” Catholic upon receiving their rings, they were also more Irish, in a sense, due to the emphasis of the Irish on Catholicism. This is because of the tensions between Irish Catholics and British Protestants, tying religion to nationality in this aspect.

Also, this highlights a certain aspect of folk objects. In Ireland, many tourists are attracted to the Claddagh rings. They are sold in many stores, especially those aimed specifically at tourists, which demonstrates how folklore can make quite a bit of money. The popularity of this item comes from the enchanting legend that surrounds its making. The story of the love of a blacksmith for his lover was supposedly prompted him to make this ring while he was working on a pirate ship, for he had been kidnapped and taken from his love. It is a powerful story of love that encourages people everywhere to buy this gift for those they love. This widespread story led the production of the Claddagh ring to expand outside of Ireland itself.

This practice also brings up the question of authenticity. Some may consider buying the Claddagh ring in America inauthentic. The informant also made sure that the rings she gave her granddaughters came from Ireland, which from her perspective was what constituted an authentic Claddagh ring. Despite where the ring was made, however, its meaning is transcendent, because through the action of giving this ring to a loved one in order to demonstrate love, loyalty, and friendship, the legend of the Claddagh ring is commemorated and passed on despite the heritage of the giver or the land in which the ring is made. Overall, this tradition has become very popularized, and it means a great deal to the informant as it passes on Irish tradition in the promises of love, loyalty, and friendship.