Category Archives: Folk Dance

Sausage

Nationality: American
Age: 19
Occupation: College Student
Residence: Morris Plains, NJ, USA
Language: English

It is a men-only post-show tradition that was invented at the local high school theater and celebrated between grade meshing as well as the seniors’ final shows. 

“I didn’t join theater till my sophomore year which had [J] and [C] as the ring leaders of the seniors. They introduced me and the freshman to sausage. It was crazy at first, but a ton of fun. There’s the song sausage, but its cool because there are a lot of singers who have their own verses that all end with ‘but I still get sausage’. All the seniors make their own verses and we[all the male members of theater] all jump around and have fun in there. For closing night, both guys and girls come in and all the seniors get a voice. We would also put a freshman in a safe and bang a beat on it as like an initiation. It was a fun thing to look forward to.”

The ritual reminds me of a fraternity initiation(with less danger). They all sing and jump around in an exclusively male space, singing a song that is an allusion to sex. It can also be very inclusive because theaters are a LGBTQ dominated space, and they allow trans men to be included in Sausage. It’s also a fun tradition to pass down to other generations and a good, safe way to celebrate after a show. It creates community between the younger years and celebrates the graduating Senior class.

Jiggalo – Ritual

Nationality: American
Age: 18
Occupation: Student
Residence: Los Angeles
Language: English

Ritual Dance: Jiggalo

Context: “Jiggalo is a dance I did with my high school volleyball team before every single match we played. It’s to kind of get the team hyped up and energetic for the game at the end of our warm-up. It also brings the team together as a sort of bonding thing. It starts with everyone separating off into grade levels, so the freshman, sophomores, juniors, and seniors all go off with their grade and get a few minutes to coordinate a dance. Once everyone is ready, we come back in a circle and sing ‘Our hands are high, our feet are low, and this is how we jiggalo,’ and then one at a time, each group does their little dance.

I first learned it in my freshman year at our first home game of the year, when the team captain said ‘Alright let’s go do jiggalo’ after we warmed up. The girls who had been there the year before taught me how to do it, but because I was the only freshman on the team, I had to do the actual dance alone which was kinda fun. They’re also the ones who told me that if we don’t do it, it’s basically an automatic loss, so the tradition was very important.”

Analysis: Not many people think about sports teams as folk groups, but they can definitely be considered as such. The main focus of sports is the athletic competition, and it’s clear why, but the communal aspect of it is often overlooked as a result. The entire world of sports is home to countless rituals that are only understood by the participants and/or fans of a select sport, and my informant’s description of jiggalo illustrates this perfectly. When she first said the word, my knee-jerk reaction was “what the hell is a jiggalo?” but that just proves my point. To me, it’s just a silly sounding word that could mean anything. To my informant and her team, it’s a sacred pre-game ritual that is important enough to where if they don’t do it, it immediately condemns the entire game. A common thread in folklore is the lack of understanding by outsiders, and while this pre-game ritual may not fit the traditional ideas of folklore, I believe it absolutely fits under the umbrella.

Bring Em Out – Ritual

Nationality: American
Age: 18
Occupation: Student
Residence: Los Angeles
Language: English

Ritual Dance/Entrance: Bring Em Out

Context: “‘Bring em out’ is an entrance tradition I do with my high school volleyball team. It starts with all of the girls lining up in pairs, captains in the front, then seniors, then juniors, etcetera. We line up by the main doorway that leads to the main part of the gym, and they play the song “Bring Em Out” by T.I. plays over the speakers in the gym. When it gets to a certain part of the song, every pair runs out one after another, jumping up and slapping the arch of the doorway as they pass it. The JV and frosh teams are lined up on the endline and sideline as we enter, so we high five them along the way and then high five our partner over the net before running a few drills and high fiving them on the other side of the net. It’s a really fun tradition for every home game, it serves the same purpose as like a wrestling entrance so the crowd gets hyped up and all the players ready to go.”

Analysis: This is the second of two pre-volleyball game rituals given to me by my informant, and I think it shows just how prevalent folklore is in places and situations where you wouldn’t expect it. I don’t think a single person on the planet thinks of folklore when someone mentions sports and vice versa. And yet it is featured so prominently, in ways that don’t jump out as being folklore but can absolutely be considered as such after learning about the ritualistic and symbolic significance behind it. I found the comparison to wrestling entrances especially funny, but it absolutely holds true. The entrance is an extremely important part of a performance, and what is sports if not an athletic performance? The whole process of “Bring Em Out” can be compared to some of the ritualistic practices of theatre troupes, which most would agree fall under the category of folklore. I had always seen things like this and enjoyed them without ever analyzing through the lens of folklore, and I think doing so can reveal a lot.

The Sea Snake Dance

Nationality: Mexican
Age: 58
Occupation: Retired Federal Officer
Residence: Henderson, Nevada
Language: English

Text: Before I moved to the United States I attended a wedding in Mexico city, where I was born, and witnessed The Sea Snake Dance for the first time. A song, La Vibora de la Mar, began to play. Simultaneously, all the adults began clinging together and forming a large circle. I wasn’t allowed to join the circle as my mom said it was unsafe for me. The bride and groom stood on opposing tables and reached out one arm towards the other. Then, the human snake ran under their arms and sung the song.

Context: Informant describes first seeing this Hispanic wedding tradition when they were a young child still living in Mexico City. They described their time in the United States, where they have spent the majority of their life, and claim that they have only seen The Sea Snake Dance performed at a select few hispanic weddings. Informant believes this tradition is performed as a gift from the attendees of the wedding, wishing the newly weds a joyous and faithful marriage. The snake, to the informant, is representative of the potential struggles the newly married will face.

Analysis:

I believe this tradition to be rather fascinating, especially its lack of presence in the American- Hispanic wedding scene. The informant, who is now a marriage officiant who primarily serves the Hispanic community, describes not seeing many examples of the Sea Snake Dance in the United States. The few times they have seen it performed, they expressed being shocked. This, to me, is very representative of the changing beliefs that are produced when two cultures fuse. With the population of Mexico being mainly Roman Catholic, marriage holds a very prominent role in their society. In the United States, however, marriage has become less and less meaningful as divorce rates continue to rise. This is likely why the informant does not witness many replications of the wedding ritual that is so common to Hispanic culture. This lacking of reproduction is representative of folk- traditions ability to change in a parallel fashion to those who perform it.

Wu Shi (舞狮) & Nian (年), Chinese Lion Dance

Text:
Wu Shi is a traditional performance where dancers mimic a lion’s movements in a stylized costume, usually accompanied by loud drums, cymbals, and gongs. Commonly performed during Lunar New Year, store openings, weddings, and festivals.

Context:
The informant saw the Northern Lion Dance style when they are a child during New Year Festival on the streets. They remember being afraid of the lion dancer as a child because the colorfully painted mask and seemingly unpredictable movement look like monster. However, the lion is believed to scare away evil spirits, bad luck, and misfortune. Drums, firecrackers, and loud sounds are used in tandem to “cleanse” the space spiritually.
The origin of Wu Shi tracks back to a legend about a beast called Nian (年) who terrorized villages annually. People discovered it feared loud noises and red color, leading to the development of lion dances and firecrackers.

Analysis:
Wu Shi is a ritual drama performed at a liminal moment requiring protection and good luck, in this case, new year. The movements mentioned by the informant, like sniffing, blinking, jumping, are symbolic, mimicking the lion’s investigation of its surroundings; it is a metaphor for purification and control over chaos. Wu Shi is a performative folklore in which a ritual sends blessing with visual language.
The lion is actually not native to China, it was introduced through contact with Buddhism and Silk Road culture, yet it was mythologized into Chinese cosmology as a protector figure. It is a form of cultural syncretism where foreign symbols are absorbed and repurposed within local beliefs.