Author Archives: Sophia Valdez

Cold Wind on a mother’s back

Context:

J is a 23-year-old Salvadorian-american and resides in Southern California. She’s heard various superstitions and stories from her family and friends. She heard this one from her mother after a family reunion.

The context of this piece was over a dinner when J was asked if she had heard of any folk beliefs from her family.

Text:

J: “I know of one that we always make sure to follow no matter how like dumb people think it is. Like my mom told me about this one so that when I have babies I wont get sick or anything like that. She told me stuff like women need to be wrapped up after having a baby. Kanda like a baby themselves. If they didn’t then stuff like the wind would get to them,”

Me: “The wind? What do you mean by it getting to those women?”

J: “Like if a woman left her back exposed after having a baby, then they’d get really bad back pain because of the wind. My mom said that the cold wind was the worst thing a woman could be touched by after giving birth. It’s because wafter having a baby the woman’s body is like weak and its sensitive. So she has to be covered in clothes or blankets so that her and her back stay like warm.”

Me: “So if the wind touches her back, it hurts her?”

J” Yeah so like wind is cold and since the baby took all of her warmth and strength the wind would leave her in pain. We just say the back is the most important part because that’s where they put like the shot thing for the pain so its left more out in the open. So yeah, now you know to always have you back covered up after having a baby”

Analysis:

I think it’s really interesting to hear about this folk belief because something as simple as wind could have a greater affect on someone’s body. I know that the wind is usually avoided as it brings the feelings of coldness but the way it is spoken of in this belief is somewhat animalistic. This belief connotes the wind negatively as it makes it clear that the wind is something that can hurt a woman and should be outright avoided. I think this belief is especially interesting because it revolves around a woman’s body post-birth. I know that in many cultures birth is sacred and the creation of a new life in the world is highly valued, so it was interesting to hear how the birthing process needs the after-care.

No children by a cemetery

Context:

M is a Mexican immigrant from the state of Nayarit. She immigrated to the United States when she was young and resides in Southern California. She relays the superstitions of her culture to others and uses it as a conversation topic. She does this as a way of preserving her culture while being away from her homeland.

The context of this piece was during a road trip with M as we passed a cemetery while in the car.

Text:

Me:, ¿podrías contarme alguna superstición o tradición que tengas sobre los cementerios?

M: Bueno, en México, al menos en el pueblo del que vengo, creen que los cementerios son un mal presagio para los niños. Sí, creo que permiten que los muertos descansen en un lugar tranquilo, pero para los vivos, al menos, hace lo contrario. Es especialmente malo para los bebés o los niños más pequeños.

Yo: ¿Es específicamente peligroso para los bebés?

M: Sí, especialmente para los pequeños e inocentes bebés. Hay una historia en los cementerios que dice que si pasas por uno, ya sea en coche o simplemente caminando, debes llamar a tu bebé. Tienes que ir diciendo su nombre y llamándolo hacia ti. No importa si están a tu lado, debes llamarlos hacia ti y decirles que vayan contigo.

Me: ¿Hay alguna forma de llamarlos?

M: Puedes decir simplemente “Vamos, cariño, vamos” y luego decir su nombre. Tienes que hacer saber a los bebés que te vas y que deben irse contigo. Esto es porque se dice que desde que un bebé es tan joven y frágil su alma podría ser robada por un espíritu del cementerio. Por eso tienes que llamar al alma de tu bebé para que se vaya con su cuerpo.

// Translation

Me: Well, could you tell me about any superstitions or traditions you have about cemeteries?

M: Well, in Mexico, at least in the town I come from, they believe that cemeteries are a bad omen for children. Yes, I think they allow the dead to rest in a peaceful place, but for the living, at least, it does the opposite. It’s especially bad for babies or younger children.

Me: Is it specifically dangerous for babies?

M: Yes, especially for small, innocent babies. There’s a story in cemeteries that if you pass by one, either by car or just walking by, you have to call your baby. You have to go around calling their name and calling them to you. It doesn’t matter if they are next to you, you have to call them to you and tell them to go with you.

Me: Is there a way to call them?

M: You can just say, “Come on, honey, come on,” and then say their name. You have to let the babies know that you are leaving and that they should go with you. This is because it is said that since a baby is so young and fragile its soul could be stolen by a spirit from the cemetery. That is why you have to call your baby’s soul to leave with their body.

Analysis:

Folklore surrounding cemeteries is a frequent topic across different cultures as its connections to the afterlife are strong. I found M’s interview interesting because it discussed a folklore that can be applied universally to any cemetery in the world. I like that folklore can be applied to any region in the world. I also found it interesting as M explained why it’s important to call for the name of the child as it is attached to its soul. It was also interesting to see the duality of cemeteries through M’s perspective. I always found cemeteries somewhat chilling, but I understood that it was someone’s final resting place so hearing about how cemeteries also take from the living.

Egg Cleanings

Context:

M is a Mexican immigrant and mother of three. She has used folk medicine to cure some of the ailments of her children throughout the years. She learned the techniques from her mother and uses them on her children and grandchildren now.

The context of this piece was during a dinner when I asked if she knew any folk medicine methods and she knew of one that could be used on anyone.

Text:

M: “Muy bien, este método se puede utilizar en cualquier persona y se puede hacer por su cuenta o alguien más puede ayudarle. Pero tienes que agarrar un huevo y te tienes que persignar. Repítelo de tres a cinco veces mientras recitas un pasaje bíblico. Cuando hayas terminado, rompe el huevo en media taza de agua mezclada con sal. Lo que haya en la taza es la mala energía que tenías. Por lo general, después de poner el huevo en la taza se vería diferente de lo que sería un huevo normal sin cocinar. Si el huevo se ve blanco, como si estuviera algo cocido, entonces esa es la cantidad de mala energía que tienes.”

//Translation:

M: “Okay, this method can be used on anyone and can be done on your own or someone else can help you with it. But you have to grab an egg and make the sign of the cross on your chest. Repeat it three to five times while reciting a biblical passage. When you are done, break the egg into half a cup of water mixed with salt. Whatever is in the cup is the bad energy you had. Usually after you put the egg in the cup it would look different than a normal uncooked egg would. If the egg looks white, as if it is somewhat cooked, then that is the amount of bad energy it has.”

Analysis:

I really enjoyed having this interview with M and learning about this form of folk medicine. Before this interview, I had not heard of anything like this, so it was a nice learning experience to have. I thought it was interesting to hear about how this process is performed and the ingredients that go into it. Everyday objects that can be found in almost anyone’s home is used for this process which is why I was so surprised by how accessible and easy it is to perform. It was also interesting to hear how the bad energy is extracted and then transferred into something that is visible like the whites of the egg.

The shrimp that falls asleep is taken by the current

Context:

M has learned about different proverbs from family members, often elder ones, and learned this particular one from her great aunt when she was a child. She uses this particular one often to her grandchildren.

The context of this piece was collected during a movie when the protagonist was late for an important interview.

Text:

M: Precisamente por eso les digo a los niños que la gamba que se duerme, se deja llevar por la corriente.

Yo: ¿Qué significa eso?

M: Tienes que ir un paso por delante del resto. Si no estás atento y aprovechas las oportunidades que se te presentan, otro las aprovechará. En otras palabras, serás como la gamba y te arrastrará la corriente.

//Translation

M: That’s exactly why I tell the kids that the shrimp that falls asleep, is taken by the current.

Me: What does it mean?

M: You have to stay one step ahead of the rest. If you are not on alert and seize the opportunities ahead of you then someone else will take advantage of them. In other words, you would be just like the shrimp and get taken by the current.

Analysis:

I found this proverb really interesting because I had already heard American variations of this proverb. I had heard of “Early bird gets the worm” which I believe has similar meaning to the proverb said by M. The phrasing reveals a lot about how the meaning or essence of a proverb changes as it transcend among different cultures I also found it interesting how the proverb used simple imagery so that realistically anyone can understand what it means.

En el Muelles de San Blas- Folk song by Mana

Context:

A is a Mexican immigrant from the state of Nayarit. They heard of this legend when they lived in the city of Tepic, which was about an hour away from where the legend takes place. San Blas is a well-know beach and was frequently visited by A.

The context of this piece was over a dinner when we were discussing future plans to visit Nayarit, specifically which beaches we were going to. A mentioned the legend and showed me the song.

Text:

Uh-uh-uh-uh, uh-uh

Ella despidió a su amor
El partió en un barco en el muelle de San Blas
El juró que volvería
Y empapada en llanto, ella juró que esperaría

Miles de lunas pasaron
Y siempre ella estaba en el muelle, esperando
Muchas tardes se anidaron
Se anidaron en su pelo y en sus labios

Uh-uh-uh-uh, uh-uh

Uh-uh-uh-uh, uh-uh

Llevaba el mismo vestido
Y por si él volviera, no se fuera a equivocar
Los cangrejos le mordían
Su ropaje, su tristeza y su ilusión

Y el tiempo se escurrió
Y sus ojos se le llenaron de amaneceres
Y del mar se enamoró
Y su cuerpo se enraizó en el muelle

, sola en el olvido
(Sola), sola con su espíritu
(Sola), sola con su amor el mar
(Sola), en el muelle de San Blas

Su cabello se blanqueó
Pero ningún barco a su amor le devolvía
Y en el pueblo le decían
Le decían la loca del muelle de San Blas

Y una tarde de abril
La intentaron trasladar al manicomio
Nadie la pudo arrancar
Y del mar nunca jamás la separaron

, sola en el olvido
(Sola), sola con su espíritu
(Sola), sola con su amor el mar
(Sola), en el muelle de San Blas

, sola en el olvido
(Sola), sola con su espíritu
(Sola), sola con el sol y el mar
(Sola), ¡Oh, sola!

Sola en el olvido
(Sola), sola con su espíritu
(Sola), sola con su amor el mar
(Sola), en el muelle de San Blas

Se quedó
Se quedó sola, sola
Se quedó
Se quedó con el sol y con el mar

Se quedó ahí
Se quedó hasta el fin
Se quedó ahí
Se quedó en el muelle de San Blas

Uoh, oh-oh-oh

Sola, sola se quedó
Uoh, oh-oh-oh

// Translation:

Uh-uh-uh-uh-uh, uh-uh

She said goodbye to her love

He left on a boat at the pier in San Blas

He swore he’d come back

And drenched in tears, she swore she’d wait

Thousands of moons passed

And always she stood on the dock, waiting

Many afternoons nested

They nested in her hair and on her lips

Uh-uh-uh-uh-uh, uh-uh

Uh-uh-uh-uh-uh, uh-uh

She wore the same dress

And just in case he came back, he wouldn’t be wrong

The crabs were biting him

Her clothes, her sadness and her illusion

And time slipped away

And her eyes were filled with sunrises

And she fell in love with the sea

And her body took root on the pier

Alone in oblivion

(Alone), alone with her spirit

(Alone), alone with her love for the sea

(Alone), alone on the pier of San Blas

Her hair bleached white

But no ship to her love returned to her

And in the town they called her

They called her the madwoman of the pier of San Blas

And one April afternoon

They tried to transfer her to the asylum

No one could tear her away

And from the sea they never ever separated her

Alone in oblivion

(Alone), alone with her spirit

(Alone), alone with her love for the sea

(Alone), on the pier of San Blas

alone in oblivion

(Alone), alone with her spirit

(Alone), alone with the sun and the sea

(Alone), Oh, alone!

Alone in oblivion

(Alone), alone with her spirit

(Alone), alone with her love the sea

(Alone), on the pier of San Blas

She stayed

She stayed alone, alone

She stayed

She stayed with the sun and the sea

She stayed there

She stayed until the end

She stayed there

He stayed on the pier of San Blas

Uoh, oh-oh-oh-oh

Alone, alone she stayed

Uoh, oh-oh-oh

Analysis:

This text describes the legend of the crazed woman of San Blas. This song was made by the well-known Mexican rock band Mana and is around the folklore of the madwoman of the pier of San Blas. It was said that she was a young and beautiful woman that had fallen in love with a young sailor, possibly a fisherman. The two fell madly in love but their time together was brief as he left once his work was done in Nayarit. His departure was set to be from the shores of San Blas, a popular beach in Nayarit.  Before leaving, he promised he would come back for her and marry her. As the song says, she stood there for a thousand nights and spent the entirety of her life waiting for him to come back. The legend says that the overwhelming feels of sadness, nostalgia, and desperation drove her into madness. It was said that in her state of madness, she began to head to the pier in a wedding gown with a veil and bouquet to wait for her groom to return to her. I found this song especially interesting as it was able to turn a somewhat niche local lore and publicize to the masses. I enjoyed how the band was able to transform the lore into a musical piece that captured the lore’s essence.