Category Archives: Folk Dance

Mosh-pit culture at EDM raves and festivals

Nationality: Korean/White
Age: 21
Occupation: Student
Residence: Los Angeles/Colorado
Performance Date: 4/19/2020
Primary Language: English

Main Piece

Interviewer: What are the rules of mosh-pitting?

Informant: If someone falls, you pick them up you do not trample them. You are not trying to intentionally hurt anyone, that is usually a golden rule. Sometimes there are also women-only moshpits, and it is pretty cool because it encourages women to mosh without worrying about the muscled-up guys that usually mosh. Every guy will let them just have their pit, it is always respected. 

There are different types of moshpits too. There is a circle where people just mosh in a big circle thing. And then there is a circle pit, basically you are just running in a circle, there’s no bumping or hitting it is just running. Sometimes people are inside the circle, and some of them can get huge like wall to wall at venues. That is a weird one haha.

There are also ones called Wall of Deaths–those are crazy, man. DJ’s usually start it by saying “Yo, this is my last song, I wanna see a Wall of Death in this Motherfucker. Lets’s Go!” 

Basically what happens is two lines open the middle of the venue, and people go to one of the sides. Once you have a big enough opening, the bass drops, and then both sides just run at each other. You collide with each other and then you just make this giant mosh pit. It is crazy. You’ll usually see this with EDM, pop-punk, heavy-metal. 

Background

The informant is a great friend and housemate of mine, who is currently a senior at USC studying Health and Human Sciences whose family is living in a town four hours outside of Denver, Colorado. Coming from a military family, the informant has lived in various areas, the most memorable for him was New Orleans. The informant is half Korean and half Caucasian, and is a sports fanatic having played soccer for most of his life. The informant is also a very big raver, as he enjoys going to several festivals a year, originally beginning to attend in his senior year of high school. 

Context

Being someone who attended a lot of Latinx punk shows in my hometown, I am a big fan of moshing. Last year my informant took me to my first rave, and explained the different styles of moshing and how to mosh in this scenario. Now, I have gone to a couple of more, and during our interview I asked hi to break down the rules and different types of moshpits. 

Analysis

I think mosh-pits are a type of folk dance at certain venues where participants are able to act in a more aggressive and violent manner than how they’d act in everyday scenarios. Moshing gives a lot of individuals a chance to express any pent up anger or aggression, while still balancing the concept of PLUR (Peace, Love Unity, Respect) which many ravers follow. I believe that is why there are many types of mosh-pits and set rules to secure that people do not seriously injure themselves. 

Persian-American Nowruz Fire Jumping

Nationality: Persian
Age: 21
Occupation: Student
Residence: San Fernando Valley
Performance Date: April 15, 2020
Primary Language: English
Language: Farsi

Main Piece:

Here is a transcription of my (CB) interview with my informant (AM).

CB “Okay, start by telling me why you participate in this event, what you call the event, and who  you participate with”

AM “I celebrate Persian new year every year because I am Perisan and both of my family members that I live with are also Persian. And they grew up in Iran. And because of that they grew up celebrating certain religions and certain customs throughout their lifetime.  So now they also allowed me to grow up in their roots and experience that Iranian culture that I wasn’t really able to experience because I live in the United States now.

“So one of the small events that I celebrate with my family is when we go to a park to celebrate Persian New Year., also known as Nawruz. At this park there are normally other Persians who agregate here and there’s various events that they do for customs, and one of them is that at night time they build a fire, a nice big fire, and they play Persian music and everyone sort of lines up and they take turns jumping over the fire. [laughs] Yeah, that’s one particular thing that occurs a lot

. . .

CB “Can you talk about the fire jumping thing? Is that supposed to symbolize anything do you know”

AM “Hmm. I’m sure it symbolizes something, I don’t know the finite definition of it but I can give you my interpretation of it because that’s sort of what folklore revolves around, right?  So my vision of it is a renewal of life, kinda like when a phenix dives into a fire and is reborn, and so its a meaning of a new year; a new life. So when you jump through it you’re kinda saying this is a new me now. And this is a new year as I branch into my new life.”

Background:

My informant is a Persian-American, first generation American citizen. He lives with his mother, father, grandmother, and aunt who all spent a majority of their life in Iran, and all communicate mainly in Farsi. A large amount of his extended family still lives in Iran, and so he has often talked about feeling disconnected from Persian culture. The Nowruz celebrations that he described happen every year in a park in the LA area. He and his family drive about 2 hours to get there, and it’s one of the only times during the year that they are able to connect with the larger Persian community in the area. The fire-jumping tradition that he spoke about seems to be a way to actively initiate a fresh state. I think that he and his family value this event so much because they are separated from the rest of their family, and their culture. By meeting with other Persians every year to celebrate a new beginning, at the same time that their family in Iran is celebrating Nowruz, they are able to bring their Persian culture, and family by extension, with them into their new year.

Context:

I know this informant fairly well, and we have often talked about his culture. When I was given this assignment, he was the first person I thought to ask. I interviewed him over Zoom, and we chatted a lot about the role of culture for immigrant Americans. We had a very comfortable conversation, as we had many times before.

Thoughts:

I was really interested in the fire-jumping aspect of Nowruz. Many different cultures emphasize the idea of new beginnings around the new year. However, for my informant, his Nowruz celebration gave him a ritualistic way of acting out this new beginning. It made it so that it was almost the action, not the holiday, that symbolized this rebirth. I also thought that it was especially interesting that he referenced a popular piece of western folklore, the phoenix, when describing his traditions. I think that this represents a large part of his assimilation to American and western culture. While he is still distinctly Persian and tied to his roots, the way he thinks of his celebrations is defined by both his heritage, and his surroundings. This exemplifies the development of Persian-American culture as a separate unit from either culture.

Tamales in Christmas

Nationality: Mexican
Age: 77
Occupation: NonE
Residence: Los Angeles
Performance Date: 04/26/2020
Primary Language: Spanish

Main piece: 

The following is transcribed from a conversation between the informant and interviewer.

Interviewer: Can you tell me about the tamales? When you make them for Christmas? 

Informant: Oh of course! Well you know how it works. Everyone has to contribute in one way or another. For example, your mom and sister help me with the preparation and you and your dad put the money. And that way everyone puts their share. 

Interviewer: But isn’t there like a myth where if you get mad, the tamales don’t cook? 

Informant: That’s very true so don’t you dare get mad. 

Interviewer: But why? What happens? Or how do they not cook? 

Informant: They just don’t, don’t you remember 2 years ago we had to start over because your mom got mad and they didn’t cook. 

Interviewer: Oh yeah but maybe that’s just a coincidence? 

Informant: No it is real. And if you get mad you have to dance or they won’t cook. 

Background: My informant here was my grandma who’s staying with us during COVID-19. She was born in Guadalajara, Mexico but lives in the U.S. with us for the most part. She has been helping us make tamales every year for Christmas. She says that when she was younger, her family would circle around a table and each person a specific task in making the tamales. 

Context: I sat down with my grandma and asked her about this myth. I didn’t tell her it was for a project but I just brought it up and then recorded the interview above. The setting was first in the kitchen and then proceeded to the living room. 

Thoughts: I’ve heard of this myth in Mexico before from other family but my mom and grandma tell it to us all the time around christmas time. Getting mad is very bad so I usually just go to my room to avoid anything of the fuss. I don’t think it’s true. Maybe if you get mad, you don’t have the same desire or mood to cook and it’s easier to mess up. But I don’t think it has a direct relationship but I find it cool that it’s a very common myth in Mexico. 

Gurdjieff’s Movements

Nationality: White
Age: 20
Occupation: Student
Residence: LA/Seattle
Performance Date: April 20, 2019
Primary Language: English

Context:

The informant – LF – is a 20-year-old female from the Seattle, Washington. She currently is a sophomore in the USC Thornton School of Music. Her parents are part of a small sect of Islam, Sufism, and often lead meditation retreats that teach the meditation techniques of George Gurdjieff. The following is from a conversation about the meditation retreats hosted by her parents.

Piece:

LF: On the retreats, they go out to an isolated place – like a retreat center. And their daily routine is, they wake up for 6am meditation. So you have to get up and be there before that. After breakfast, there’s practical work. For practical work, they do some sort of physical labor, wherever they are. At the retreat center they’ve stayed at, they’ll re-roof a building, or build a deck, for example. It’s not like charity: the work itself is a meditation; you’re getting in your body, and you’re being really physical.

There’s not a lot of talking. There’s this idea throughout the retreat of staying collected, which is, kind of like, maintaining sensation throughout your body. And it’s kind of like meditating – it’s not super talkative or out of your head. You’re supposed to, like, stay really aware. And my parents actually met at a meditation retreat, and these are traditions that have been passed down from this Turkish dude named Gurdjieff… I don’t know, he just has a lot of these philosophies and shit like that.

But after the practical work, they have these things called the Movements, which are these dances, kind of, but they’re like, derived from the whirling dervishes. It’s from this religion they associate with, Sufism. But it’s more derived from the mystics from, like, the Quran.

Me: So what is the purpose of the Movements?

LF: It’s like a meditation, and they’re really hard to do, so they take a lot of concentration and focus and intention.

Me: Do they know the moves beforehand? Did you grow up knowing them?

LF: No, my mom teaches them. She knows all of them, because she’s been doing this shit for hella long. And I don’t know them – I was always too young to participate in the retreats. But then as I got older, I would play the piano to accompany them.

Me: Do the meditations each serve a particular purpose?

LF: Yeah, they’re kind of like overcoming different physical… It’s all about the struggle. That’s the thing, is they’re enduring the struggle, and the struggle is good. And you breathe through it, and you get through it.

 

Analysis:

Like LF said, it seems that Gurdjieff’s movements and the whirling dervishes, while part of a religious tradition, transcend religion, and are ultimately meditations that allow the participant to reach a transcendent state by persevering through physical and mental struggle while maintaining a meditative mental state. Though the practices are part of the religious tradition of Sufism, the meditations can be used – and are used, evidently, by participants in LF’s parents’ retreats – for anybody wishing to strengthen their mind through meditation.

 

For more information regarding Gurdjieff’s Movements, see George Adam’s (1998) Gurdjieff: Essays and Reflections on the Man and his Teaching, Nova Religio, 2(1), 161-163.

Up You Men

Nationality: American
Age: 19
Occupation: Barista
Residence: Burbank
Performance Date: March 16, 2018
Primary Language: English

Official pep song of the Aleph Zadek Aleph (male Jewish teen youth group). Commonly started by president/board member/event leader drawing out the first word before everyone jumps in and forms a mosh pit.

Lyrics (More shouted than sung): Up you men and sing to AZA

Time will pass and we’ll be on our way

As the years go by there will be

Happiest of memories (Ra ra ra!)

Stand and then

We’ll sing this song again

All you loyal men

Sing the praises of our order

Sing up you men of AZA

(Once it reaches this part the song usually winds down with everyone matching a “heartbeat” rhythm pattern on their chest.)

 

The song is a shortcut for whatever peer leader is running a given meeting or event to bring up the energy in the group and get them to pay attention in one fell swoop. The lyrics themselves serve to hype up the group and its individual members in a way that’s somewhat jingoist. No official origin is known, but the full lyrics are included in the official AZA handbooks which speaks to its deep history and significance to the folk group. The organization’s origins (also detailed in the handbook) as a very pro-American group which contributed to the nation’s WWII war effort probably explains the jingoist vibe of the piece. Little details such as the second verse present in the handbook being absent in favor of the heartbeat rhythm (explained to me once with “Every Aleph’s heart beats the same way.”) as well as the mosh pit aspect (the handbook doesn’t comment on dances for the song) indicates that the song is still a living, breathing folk tradition that defies standardization and continues to evolve in use.