Author Archives: Sarah Cheung

Tsatsapipianu (Grain Harvest Festival)

Nationality: Taiwanese
Age: 18
Occupation: Student
Residence: Los Angeles, CA
Performance Date: February 12, 2017
Primary Language: Chinese
Language: English

Sophie is an international student from Taiwan. She is pursuing a B.S. in Computer Science at the University of Southern California. She hopes to find a career in computer security and plans to stay in the United States, specifically Los Angeles, to work. She enjoys watching anime and learning; from USC-sponsored workshops, she has learned how to code and create chatbots.

Original Script

So, in Taiwan in this Aborigine tribe, we have this—no, not we—the Aborigines have this tradition that, uh, they create this giant swing. And then, um, so the princesses will be princess-carried into the swing. And then a guy will swing her up into the air and the higher she swings, it means the more possible she’s going to get married. And when she goes down the swing, a guy has to carry her and go around the swing for one round so her feet doesn’t touch the ground before going around the swing.

Background Information about the Performance from the Informant

One of the informant’s friends belongs to the Rukai tribe of Taiwan. In high school, the informant attended the Tsatsapipianu, or the Grain Harvest Festival, with her friend. She witnessed the Rukai perform this tradition around a large swing, called talaisi, and found the practice romantic.

Context of the Performance

I interviewed the informant in a study room at Parkside IRC.

One of Taiwan’s aboriginal peoples, the Rukai, view swings as representations of love, similar to that of a red rose. During the Rukai’s Grain Harvest Festival, a giant swing is used to present an opportunity for young single people to get to know one another. Due to its size, the talaisi requires two men to operate the swing, allowing the young maiden sitting on the swing to meet the men who wish to court her. Swings, known in the Rukai’s language as tiyuma, function as an effective method of communication for romance and possible marriage.

My Thoughts about the Performance

I thought this tradition of the Rukai is quite romantic. Marriage is a holy ceremony found in most, if not all, cultures around the world. It is a symbolic representation of commitment that binds two partners together as a family. In the culture of the Rukai people, this universal rite is seen as a time for friends and relatives from both partners’ families to unite as one large, extended family. Therefore, the talaisi, as a representation of romance, is surrounded by the village chief and all members of the tribe, who observe young men push the woman they wish to court on the swing. I admire how this practice does not involve merely two people; it encompasses everyone and brings them together as a community.

Mano Po and Beso

Nationality: Filipino
Age: 18
Occupation: Student
Residence: Los Angeles, CA
Performance Date: February 12, 2017
Primary Language: Tagalog
Language: English

Pauline is an international student from the Philippines. She is studying Chemical Engineering in the United States, and she plans to return to the Philippines once she graduates and receives her B.S. in Chemical Engineering. Her hobbies are watching anime, eating delicious food, and taking naps.

Original Script

One of the customs in the Philippines is this thing called mano po, which is basically like when you see like one of your older relatives like an aunt or grandparent or anyone who is basically older than you, you have to grab their hand and then you like place it on their forehead and then you say, “Mano po.” And that’s like the way of greeting people, like greeting of the elders, but people don’t really do it anymore in the city. I only do it when I visit my relatives in the province. So instead, like in the city, we just do this thing called beso, where you basically just put your cheek on someone else’s like, “Mwah, beso, hi.”

Background Information about the Performance from the Informant

The informant’s parents taught her this greeting when she was young. During visits to her elders, she would have to perform mano po. However, this greeting became less prevalent in her life as she grew older. Now, she only has to perform mano po for her older relatives in rural areas; in cities, she does beso.

Context of the Performance

I interviewed the informant in a study room at Parkside IRC.

In the Philippines, mano po is a gesture performed as either a sign of respect to an elder or an acceptance of one’s blessings from the elder. In Filipino culture, the youth are expected to respect and value their elders for their wisdom and experience accumulated over the years. By offering one’s hand to an elder, one is demonstrating subservience to the elder and welcoming his or her blessings and knowledge. While mano po is still widely used in the Philippines, many Filipinos have replaced this gesture with beso. Not restricted to just older people, it has become a more common greeting between close friends and relatives in the Philippines.

My Thoughts about the Performance

Learning about the Filipino gestures, mano po and beso, reminded me of the various greetings I have practiced or observed from other cultures. Coming from a Cantonese background, I have been raised to respect my elders and obey whatever they say. Compared to the United States, which possesses a future-oriented culture, many East Asian countries seem to have a past-oriented culture, holding elders in high esteem. The beso reminded me of the cheek kissing gesture practiced by the French. Both nations perform this action in social functions to indicate friendship or respect.

Pagpag

Nationality: Filipino
Age: 18
Occupation: Student
Residence: Los Angeles, CA
Performance Date: February 12, 2017
Primary Language: Tagalog
Language: English

Pauline is an international student from the Philippines. She is studying Chemical Engineering in the United States, and she plans to return to the Philippines once she graduates and receives her B.S. in Chemical Engineering. Her hobbies are watching anime, eating delicious food, and taking naps.

Original Script

In the Philippines, there’s this superstition that like every time you go to a wake or a funeral you’re not supposed to go straight home. You’re supposed to do this thing called pagpag, which is basically like after the wake or the funeral, like you go anywhere else that isn’t your home so like people usually like go to the mall, they don’t do anything, they just go in and walk out and then they go back home. Because that way you’re kinda like removing all of the bad energy and stopping the spirits from following you home. Because we believe like if you go straight home you’re going to bring all that bad energy with you. And the word pagpag basically means like for example if you have like a carpet and you want to remove all of the dust and hair you kind of flap it like that and all of the dust comes off and so that’s kind of like when you go into the place you’re kind of making pagpag all the bad energy from yourself.

Background Information about the Performance from the Informant

The informant and her family are less traditional and do not perform pagpag after funerals. However, when the informant attends wakes or funerals with her more traditional Filipino friends, they make her perform pagpag with them. They usually go to a mall or a park for a while before returning to their homes

Context of the Performance

I interviewed the informant in a study room at Parkside IRC.

Pagpag is a term that means “to shake off the dust or dirt” in Tagalog. Filipinos have used the term to refer to the superstition that one cannot head directly back to one’s home after attending a funeral until one has performed pagpag. This ancient practice has been preserved by Filipinos in fear of the possibility of the dead’s soul following the visitor home after the wake.

My Thoughts about the Performance

There are many superstitions about funerals or wakes that involve one being haunted by the deceased. I find it interesting that many of my Filipino friends still practice pagpag with their families after funerals. They reason that these superstitious beliefs are merely guidelines to prevent any consequences; they lose nothing for following them. In other words, it is better to be safe than sorry.

The Bayanihan Spirit

Nationality: Filipino
Age: 18
Occupation: Student
Residence: Los Angeles, CA
Performance Date: February 12, 2017
Primary Language: Tagalog
Language: English

Pauline is an international student from the Philippines. She is studying Chemical Engineering in the United States, and she plans to return to the Philippines once she graduates and receives her B.S. in Chemical Engineering. Her hobbies are watching anime, eating delicious food, and taking naps.

Original Script

So there’s this custom from the olden times in the Philippines that’s called Bayanihan. So before like people used to live in like really small bamboo huts and when like people wanted to move because maybe like the ground is not fertile anymore and they wanted to go to another place like near the shore or something. Like instead of just leaving their home and building a new one, it’s like actually portable—there’s sticks at the bottom—and then like you can like carry your house and then just move it. So the concept of Bayanihan is all your neighbors are like going to help you carry the house.

Background Information about the Performance from the Informant

The informant learned about the Bayanihan spirit in elementary school. Her teacher wished to teach this value to her students because it is an integral part of Filipino culture and possesses heavy historical importance.

Context of the Performance

I interviewed the informant in a study room at Parkside IRC.

The Bayanihan is a Filipino custom that refers to the spirit of communal unity, collaborating and working together to achieve a particular goal. “Bayan” means “community, nation, or town,” while bayanihan means “being in a bayan.” This concept can be traced back to the tradition of rural areas in the Philippines, where the town’s people would lend a hand to a family who is relocating. The Bayanihan spirit demonstrates the Filipino value of helping one another, especially in times of need, without expecting anything in return.

My Thoughts about the Performance

I really admire this quality valued by the Filipinos. When I visited the Philippines with my family a few years ago, I noticed that the Bayanihan spirit is still very much alive. While I was in the rural areas, the locals went out of their way to welcome and help my family and me. I also saw a group of Filipino men help a family move their house to another location.

Aswang

Nationality: Filipino
Age: 18
Occupation: Student
Residence: Los Angeles, CA
Performance Date: February 12, 2017
Primary Language: Tagalog
Language: English

Pauline is an international student from the Philippines. She is studying Chemical Engineering in the United States, and she plans to return to the Philippines once she graduates and receives her B.S. in Chemical Engineering. Her hobbies are watching anime, eating delicious food, and taking naps.

Original Script

Alright, so there’s this creature in Philippine culture. It’s called the Aswang, so it’s basically like the Filipino version of a vampire. So like it’s a shapeshifter like during the day it’s a normal human and it can talk to other people and you can’t tell it’s an Aswang, but then at night it transforms into this really ugly monster. And then, what it likes to do is like it likes to look for pregnant women and then it like sucks out the fetus and eats it. That’s what its food is. And then it also likes to eat little kids. And it likes to eat like their livers and their hearts. So yeah, so that’s the Aswang and they make this really ugly sound like, “Eahhh.” And then it like tries to delude you so like the louder the noise is the farther away the aswang is. So like when it’s really near you, you can’t hear anything so you can’t tell that it’s there. And basically, to lure it away, you need to hang like garlic on your door like for the vampire. Or like you put like salt or something on your door.

Background Information about the Performance from the Informant

She heard about this creature from her parents when she was small. They tried to get her to sleep by warning her that the Aswang would kidnap and eat her if she does not.

Context of the Performance

I interviewed the informant in a study room at Parkside IRC.

The Aswang, a carnivorous, shapeshifting monster in Filipino folklore, is the most feared amongst the mythological creatures of the Philippines. Especially popular in the southern areas of Luzon, areas of Mindanao, and the Visayas, the Aswang has gained regional names, such as “bayot,” “kling-kling,” and “tik-tik.” This creature has endured centuries, told by mothers to their children as warnings to avoid walking the streets at night. The Aswang had also been used to explain events relating to grave robberies, child kidnappings, and other bizarre incidents.

My Thoughts about the Performance

Hearing about this myth reminded me of the stories I heard about the Bogeyman. Both creatures, amongst the many others in various cultures, are used by adults to frighten children into exhibiting good behavior. Parents would tell their children that if they misbehave, a certain monster would take them. It seems that these Aswang variants are universal, common to the folklore of several countries.