Category Archives: Game

Ambarabà ciccì coccò

Nationality: Italian
Age: 19
Occupation: Student
Residence: Bologna, Italy
Performance Date: 04/26/2021
Primary Language: Italian
Language: English

Main piece:

«Ambarabà ciccì coccò
tre civette sul comò
che facevano l’amore
con la figlia del dottore;
il dottore si ammalò 
ambarabà ciccì coccò!»

Transliteration: 
Ambarabà ciccì coccò, three owls on the dresser, which made love with the doctor’s daughter; the doctor got sick, ambarabà ciccì coccò.

[there is not a proper translation as also in Italian it does’t have a metaphorical or deeper sense, as the main purpose is the one for the words to rhyme one with the other and sort of articulate and give rhythm to the count children should do with it]

Background:

My informant is a 19 year old girl who was born in Crotone, Calabria(Southern Italy), but who spent most of her lifetime in Bologna (Italy). She claimed this piece to be an “integral part” of her up-bringing and childhood, and while recounting this to me, she naturally started to intone this rhyme, while pointing the fingers to me and the other people present. In fact, this nursery rhyme is usually performed with hand-gestures, in which fingers point people in a group so to ‘do the count’. 

Context: (the context of the performance)

My informant performed this over a dinner, in which other friends were present, and they all started to participate in the ‘practice’.

Thoughts:

This nursery rhyme is extremely interesting from multiple perspective. 

First of all, it is something which, despite being directly associated to infantry and childhood, is used by adults as well, especially in the context of folk-speech. For example, if you do not know what to choose between two options, people will say to you “do Ambarabà ciccì coccò” which basically mans ‘do the count’ —something similar to what in English would be toss a coin. 

Another curious aspect of it, it’s its evolution throughout time. I have, indeed, recently discovered that, in the original version, the verse “tre civette sul comò che facevano l’amore con la figlia del dottore” actually was “tre civette sul comò che facevano timore alla figlia del dottore”, which translated would be “three owls on the dresser which intimidated the doctor’s daughter”. This gives a complete new value to the song, as it shows how some means of expressions and communication young children have -like folk-songs or rhymes- are used by them in the attempt of approaching the adult’s world. Int his case, the fact that the three owls, from frightening the girl, make love with her, (beside the strange and quite perverse connotation) transform and include a grown-up thematic into a playful song. In this way, children not only indirectly get closer to a new and mature topic, but they can also be directly advised against certain behaviors. Particularly, little girls are advised not to act like the doctor’s daughter did, who, by making love with the three birds, made his father become ill. 

La bella lavanderina

Nationality: Italian
Age: 57
Occupation: Teacher
Residence: Bologna
Performance Date: 04/13/2021
Primary Language: Italian

Main piece:

“La bella lavanderina che lava i fazzoletti

Per i poveretti della città.

Fai un salto, fanne un altro,

Fai la giravolta, falla un’altra volta.

Guarda in su, guarda in giù

Dai un bacio a chi vuoi tu”

Transliteration: 
The beautiful washerwoman who washes the handkerchiefs for the needy of the city. Jump, jump another time, do the twirl, do it again. Look up, look down, give a kiss to whoever you want. 

[the transliteration comprehends the translation as well, as there is not a deeper meaning that goes beyond the words themselves]

Background:

S.C.: This was a nursery rhyme that I learnt when I was very young and that I sang both at home and at school to..well, first of all to understand that there were people more needy than me that could and should be helped and, also to transform a topic, which for a child can be quite unknown, into something happier and more easily approachable. Children would associate a serious issue to a form of gameplay, to a moment of carefreeness.

V.S.: Where did you learn it?

S.C.: I think my mum thought me it, but then I used to sing it with my friends at school..a bit everywhere…everyone knew it. To be happy and do something together, this rhyme was always performed 

Context:

I myself knew this rhyme since really young, and we were in the informants’s house when she mentioned and performed this.  

Thoughts:

As my informant pointed out, this is a piece taken from what would be defined as children’s folklore and which has been passed down from generation to generation; as a matter of fact, my grandmother used to do it, and so does my cousin’s son who is now three. Despite the first impression the lyrics or the performance could give, this practice done’t involve a particular gender, but it is, instead, carried out both by male and female kids. This is not particularly unexpected, as the majority of gender-based games and plays usually start to be performed when infants are 6 or 7 years old, while this little kinesthetic song is typically learnt and ‘enacted’ some years before. I use the term kinesthetic as this nursery rhyme is most of the times performed with a dance, which basically consist in following and doing what the lyrics of the song tells. So when it says jump, children jump; when it says do the twirl, children do it, and so on until the end of the song, in which each child chooses who to give the kiss. In this way, another interesting aspect is brought to light, which is the young approach of children to the world of adults. Even if indirect and unconscious, the kiss represents a turning point, a means for approaching the other sex since a really young age. 

However, this isn’t the only grown-up thematic children are put in contact with: as my informant highlighted, indeed, children are also introduced -in a joyous and playful manner- to more serious and relevant topics, like poverty, altruism and philanthropy. 

‘Joota Chori’: Dipping Your Toes Into a New Phase of Life

Nationality: Indian
Age: 52
Occupation: Homemaker
Residence: Mumbai, India
Performance Date: 04/03/2021
Primary Language: English
Language: Hindi

The Interviewer will be referred to as ‘I’, and the informant as ‘S’. Translations for Hindi words will be italicised and in parentheses. The Informant is a 52-year-old Punjabi mother, born and raised in North India. ‘Joota Chori’ essentially means stealing shoes.

I: So, we have many wedding rituals and games, and practical jokes are part of that. Could you describe one?

S: Yeah, this is during the wedding ceremony, or you could say through and post it, but somewhere during the wedding ceremony, when the — both the groom and the bride have to remove their footwear to get onto the… the podium for the phere (Seven circumambulations performed by the bride and groom during Indian weddings), the sacred… the holy ritual, the seven rounds we take. So, at that point in time, the girl’s sisters and friends, they get together and hide the groom’s shoes. Basically, to seek ransom in return, at some point, and make some money, some cash. And the boy’s brothers and friends are attempting to manage to make sure they don’t manage that, and if they do manage it, they’re attempting to kind of… look for the shoes and find them to save that money. It becomes a major, a big thing, good fun thing, and mostly the girl’s sisters and friends make money. The guy comes practically prepared for it [she laughs], that x amount will mostly have to be given.

I: So, would you say it’s kind of like a rite of passage, in that sense?

S: Rite of passage, introducing each other to the families, the families and friends, yeah. Testing them and joking around, getting familiar.

Analysis:

Weddings are often known to involve the liminal space, the transition period where one person is moving from a certain identity (the family they were born into), to another one (the family they are marrying into). This liminal space is between the stages of departure from the initial and arrival and acceptance into the latter, and therefore, practical jokes and rituals are part of the experience, even in Indian weddings. Here, the practical joke is, as my informant states, a rite of passage, a welcoming of both parties into their counterpart families and communities, and they also have the auxiliary purpose of acquainting both families and friend-groups with each other in a lighthearted, fun way. This wedding game, a practical joke, signifies the introduction of the two families at the wedding, as well as the initiation of the bride and groom into these families, since the people being ‘pranked’ are not exactly entirely moved away from their previous community, and neither are they fully integrated into the new one.

Bo Bo Ski Rotten

Nationality: American
Age: 20
Occupation: Student
Residence: Chicago, IL
Performance Date: April 5th, 2021
Primary Language: English

Background

The informant, Katie, is a childhood friend of the interviewer. They grew up next door to each other and have been friends for sixteen years.

Context

Katie discusses a childhood game that her and the interviewer used to play with their friends on the playground in Elementary and Middle School. 

Transcript 

“We would all sit in a circle at recess, usually a huge group of us. Each person would put their left hand under the person sitting next to them’s right hand, so if we were sitting next to each other I’d put my left hand under your right hand. Then with the right hand, you put your right hand over the other person’s left hand. We all sing a song and on each beat you take your right hand and swing it around to hit, or more so clap, the person next to you’s hand left hand. For example, when person A’s hand is hit by person Z, then person A must hit the person B’s hand, then person B must hit person C, and so on and so forth, going on in a continuous circle. It’s basically hot potato, but you are passing a hit, instead of a potato. 

The song goes like this [verse one]: Bo bo ski rotten totten / I- I say boys are rotten / Itty bitty rotten totten / Bo bo ski rotten totten / Bo bo ski rotten totten. 

Then the tempo speeds up and you go really fast.

 Verse two goes: Mickey mouse had a house / Donald Duck messed it up / Who will pay the consequences.

Then it speeds up even more.

Verse three goes: Y O U spells you and you are out.

You do not want to get your hand hit on the word ‘out’, otherwise you will be out of the game. So you can try and move your hand really fast to not get out. If the person who was supposed to hit you, hits their own hand instead, because you moved yours off of there’s fast enough, than that person is out instead of you. It’s a really fun, competitive game. We played it a lot at girl scouts too. In middle school, if boys ever played with us we would change the line “boys are rotten” to “fish are rotten” so that the boys would think we were cool and didn’t hate them.”

Thoughts

This game was really fun, I remember playing it a lot. It is interesting how much folklore happens on the school playground. This is just one example of many hand / song game combos we would play. I’m not sure how we originally learned about it. I assume, we learned it from some girl on the playground, who learned it from someone else, who learned it from someone else, ect. When I moved from Chicago to Los Angeles for college I found myself one night talking with my LA friends about this game. They knew the general premise, but had different words for the song that I can no longer remember. This was fascinating to me as it shows how folklore is so malleable and can adapt and change with every person who tells it.

La Cucaracha – Spanish Folk Song

Nationality: American
Age: 21
Occupation: College Student
Residence: California, USA
Performance Date: 05/02/2021
Primary Language: English

Context:

Informant JA was an undergraduate student at the University of Southern California at the time of this collection. JA was born in the San Francisco Bay Area, but their dad’s side of the family originates from Mexico. When JA was young, their great-grandmother would sing a Spanish folk song while playing a game with JA when they were about three years old. I spoke with JA to see what they could remember about their experience with this song.

Text:

Lyrics:

“La cucaracha, la cucaracha, da-na-na-na-na-na-na” (repeated until game was over)

Accompanying Game:

While JA’s great-grandmother would sing La Cucaracha, she would hold her arms out in a circle with her hands holding each other almost like a basket. JA would run in a circle in front of their great-grandmother, and when she was done repeating the lyrics, she would put her arms down to try and capture JA while they were within her basket-like arm positioning. If she caught them, she would tickle them. If she did not catch them, JA would win the game.

Analysis:

Hearing about JA’s experience with this folk song and its accompanying game allowed me to consider how it might connect with the role Hispanic/Latina (great) grandmothers play when it comes to sharing cultural traditions and information to younger generations. By singing this song, she is providing entertainment for young JA while simultaneously fulfilling the responsibility of transmitting their shared Mexican culture. In pairing this song with a game, JA’s great grandmother, is perhaps teaching JA that they can partake and enjoy a culture that might feel distant from them as a Mexican American growing up in a suburban area. The performance of this folk song in this context captures the the desire to connect singer and listener to one another all while sharing an aspect of Mexican culture.