Category Archives: Folk Dance

Skanking

Nationality: American
Age: 22
Occupation: International English Teacher
Residence: Bethesda, District of Columbia
Performance Date: 4/5/2014
Primary Language: English
Language: Korean

About the Interviewed: Spencer is a former student of the George Washington University, now graduated and teaching English overseas. He describes his ethnic background as “Potpourri”, with his family having a mixture of Scottish-Polish origins with some Irish thrown in the mix. His family has lived in North America for generations, so he prefers to identify ethnically as just that. He is 22 years of age.

When I was a student at the George Washington University, my friend Spencer got really into Ska music.

Spencer: “Ska is a genre of music best described as a combo of Jamaican Reggae and [Western] rock music.” Spencer tells me. “It involves a combination of electric guitar and jazz instruments. It’s pretty uptempo.”

Spencer then tells me about a type of dancing unique to a “Ska” performance.

Spencer: “When you listen to Ska, you’ve gotta Skank. That’s just how you do it. When you Skank you’ve gotta just move to the music. You’ve gotta move to the beat.”

Spencer then gets up and gives me a small demonstration. He performs a sort-of hopping motion accompanied by a fist pump. He hops and jerks to the rhythm of a song I’m playing  on my ipod. As the music grows more uptempo, he begins to hop in a running-man pose. It’s important to note that his Skanking embodies a sort of lock-step movement. It’s a quick transition, and then a freeze; almost like a kind of rhythmic freeze-tag.

I ask him if he’s seen Skanking performed in other ways.

Spencer: “Yeah, people just go crazy. Ska is really loud so people just sort of let themselves go. Sometimes people shake around, they kick and stuff. I’ve seen crazy-ass stuff go down. I’ve seen people get hurt – they Skank so hard.”

Summary:

Skanking is a form of dance closely associated with Ska music. It is accomapnied most often by Ska music, and it consists of bopping and/or running in place to the beat of a song.

Like Ska music itself, Skanking embodies something wild and free. Not unlike “moshing”, Skanking allows an audience to participate in the culture of the music they are receiving. Essentially, they’re taking the positive energy they receive from the music, and sending it right back to the performers in an epic loop of positive feedback.

Regrettably, by his request, I was unable to record Spencer’s Skanking demo, but I’ve found some videos that seems to capture the spirit of the dance pretty well.

 

La Tuna

Nationality: Spanish
Age: 51
Occupation: professor
Residence: Redlands, CA
Performance Date: April 27, 2014
Primary Language: English
Language: Spanish

“During my college years in the mid 80’s I was a member of a ‘Tuna” group in Spain. A “Tuna” is a group of university or college students who dress in traditional costumes and play traditional instruments and sing serenades. In essence the tradition of this student tuna band or ensembles seems to go back to the 13th century as reflected in some of the medieval literature. That’s how we know the 13th century part because some of the literature alludes to these roaming student ensembles who would play music largely to earn money. They would sing and in some place they were known as “sopantes” de “sopa” (soup). Like soup kitchens that we have here; people would feed them for free. So sometimes they were known as “sopantes.” So this tradition of these student ensembles was typical of Spain and Portugal and it made its way even to the Americas through Spain. So in Mexico and Peru and all of these countries that were part of the Spanish empire, when the Spanish came and founded their universities here. In 1551 Emperor Charles V granted the charter which established the university of San Marcos in Lima, Peru to other old universities like Mexico City and Santo Domingo. So the tradition spread into the countries of the Americas that way. Today this tradition has even spread into the Netherlands as well. Over time the original purpose of these ensembles disappeared. The students weren’t doing these serenades to get money, largely but it became established as a venerable tradition on university campuses. And like by the 19th century already they were established as a cultural activity or enterprise on campuses. It was now sponsored on the campuses like a club or a school marching band. And membership was through trial; you had to pass. Not only music but pranks and stuff too. All of these things were involved in being admitted into “Le Tuna.” Now the tradition is that each school like Medicine, Architecture, Humanities, Law, you know all of these, have their own. And the colors are set for each field or discipline. I think Medicine is yellow. Basic science is usually royal blue. But there’s green and red. So no matter if it’s from different universities, the schools have the same colors. The costumes are kind of old fashioned and reminiscent of Renaissance, 16th century. So the costumes include a cloak, a ‘dublet,’ which is a tight fitting jacket almost like a bolero jacket that goes on top of a white shirt that has big cuffs and collar, they are like puffy. And then the pants are called petticoat britches, Spanish britches that are fitted right under the knee. And then there’s tights, stockings and also pointy black shoes and the most important thing is the so called “beca.” The “beca” is a V-shaped band that goes over the shoulders and on top of the jacket. The color of it is characteristic of the field. And then on top of everything you wear a big, long cloak, typical of the 16th century. Each ‘tuno,’ pins ribbons of different colors and seals or coat of arms patches that are sewn on of all of the cities and countries that the group has played in. The ribbons are usually given by girls to the “tuno.” But the seals or the coat of arms from places are collected through the traveling. So the amount of ribbons and patches on the cloak tells you already about the ensemble member. Those that are seasoned will have their cloaks nearly covered with patches. And those who are more popular with girls with have more ribbons *chuckles*.  Traditionally, the girl who gives the ribbon would embroider messages onto them for example, “para el tuno mas simpatico” (for the most charming tuno)  or “para el tuno mas guapo” (for the most handsome tuno).  Mothers, aunts, grandmothers and sweethearts would give the ribbons.

The instruments consist of typical Spanish guitars, but also combine other traditional string instruments like “el laud” y “la banduria” and also, very typically tambourines. The tambourines are the quintessential ‘Tuna’ instrument. Also some “Tuna’s” use accordions. Ive’ seen on television that Mexican “Tuna’s” have incorporated the typical Mexican, “guitarron.”

There is not agreement as to the origin of the name. Some trace it to the King of Tunis in north Africa. The tradition says that there might have been a “King Tunez” who was very fond of music and was sort of a vagabond and would like to walk around the streets playing and singing. So apparently sometime in the middle ages or the Renessaince the term “you’re a king of Tunis” would be given to the leader of an itinerant band.  But most people think it comes from the Spanish word “tunante” which is almost like a villain, a rogue but you can also use it with children like in English when we say “you little scamp.” “Tunante” has the connotation of mischievous yet playful, not necessarily malicious because we use it often with children.  From the word “tunante” could have evolved the word “tuno.” So the group of “tunos” became “La Tuna,” the band of “tunos.” But nobody really knows for sure.

They play lots of traditional “folk” music. Many of the songs are “tuna” folk songs but also many others are just other traditional songs that the play in their serenades. In modern times, “tunos” incorporate some more modern, popular music. One of the most typical songs in any ‘tunas’ repertoire is “La Compostelana.” It’s a song named after the “Tuna Compostelana.” Compostelana comes from Santiago de Compostela.  Which is the city of Saint James in northern Spain that has one of the best known and well established universities in Spain, founded in 1495. So this song that every ‘tuna’ plays has a line that says “Que cada cinta que adorna mi capa guarda un trocito de corazon.” Which means: every ribbon that decorates my cloak, holds a piece of heart. So that’s where the idea of the ribbon comes from.

It’s interesting that today in modern, recent times the ‘tunas’ have nearly regained or gone back to the idea of playing to earn money. Because now it’s not uncommon that they are hired by people for institutions or special events, such as weddings or other celebrations and even special events. For example when there are foreign dignitaries that come to Spain or for conventions to serenade visitors. While I was “tuno” we got hired to do two weddings. I was kind of like the ‘buffoon’ of the group. I would be the one cracking all the jokes and had the tambourine. I was directly engaging the audiences. The lead of the group is the one who introduces the band, cracks jokes, talks with the audience, with the girls, does acrobatic jumps and throws the tambourine around. ”

Can you tell me about some of the initiation processes or pranks you mentioned?:

“The selection process when someone wants to be a part of the ‘tuna’ starts with musical skills. Do you know how to play an instrument? Can you sing reasonably? There’s also usually tests to see if the person is shy and able to be out late at night and interacting with audiences. They’re not usually cruel though. Like standing out on the street in your underwear. Or asking a guy to take a ‘clavel,’ a carnation and profess your love to a random girl. Or to play out in the street and ask people to put money in your hat. These tests were kind of embarrassing but not meant to be overly cruel, more to test for an outgoing personality of a member. Oh and I forgot to tell you, some of the bigger groups take summer tours. Some of them have lots of prestige and are like institutions and go on tours abroad or just in Spain. ”

So the group didn’t only sing songs, there was dancing and performance involved?

“Yes, at a certain point the “tunos” get girls from the audience to dance. They play paso dobles and take women out to dance with them. Sometimes it’s in auditoriums but others it’s out in the street or they might go to an airport or something.”

 

I had seen this picture of my dad before and knew it was from his days of being a “tuno.” But I didn’t have anymore details than that. It was really fun for me to hear about my dad’s memories from college, right about when he was my age. It appears that this tradition in Spanish universities is similar to the American college tradition of fraternities. In both they form a close group and have some forms of initiations, but the ‘Tuna” has a musical and performance aspect that the fraternities lack. As his daughter I only get to see tidbits of his humor, but knowing that he played the lead of the group and/or buffoon makes absolute sense. It was also entertaining for me to watch him giggle when he started explaining the interactions “La Tuna” would have with women. It was my impression that he was popular with the ladies, although he didn’t explicitly admit that.
Here is another explanation of the “Tuna” tradition: http://www.donquijote.org/culture/spain/society/customs/tuna.asp

Pust

Nationality: Slovenian
Age: 54
Occupation: electrical engineer
Residence: San Jose, CA
Performance Date: 2014-04-24
Language: Slovenian, English, German, Serbian, Greek

Pust is a pagan holiday that is celebrated in Slovenia in the beginning of every February. Designed to scare away the winter cold, this festival is mounted to celebrate the coming of Spring. Young men are the main arbiters of some of the festival’s central traditions, as they don terrifying masks and large suits made of animal furs. Most of the masks represent different characters that recur in Slovenian folklore which are generally localized to particular regions, the principle character being called the “kurent.” [the informant could not offer any more examples of such characters and what they represent.] These costumes are paired with belts from which hang many cowbells, and the young men enter the center of the village in a procession of aggressive dancing and grunting. The idea behind this is to scare away the dark, evil spirits of Winter, in the hopes that Spring will bring good tidings and a prosperous year of harvest. Pust usually takes place in the rural villages of northern Slovenia, the Gorenjska region especially.

More modern exhibitions of this festival in different parts of Slovenia allow all children to participate and go door to door begging for candy and money, much like at Halloween in other parts of the world.

Born and raised in former Yugoslavia, what is now known as Slovenia, the informant was continuously exposed to folk traditions that originated and permeated this region. The festival is a kind of protective ritual to ensure a short winter. It is riddle with celebratory symbols of dominance and fertility. For example, the suits are made from the pelts of animals these young men had killed, demonstrating their capability of providing for the well-being of the village.

The Real Tarantella

Nationality: American
Age: 20
Occupation: student
Residence: Los Angeles, CA
Performance Date: 2014-04-01
Primary Language: English

“So many people do the Tarantella WRONG at their weddings. The way Italians do it, and everyone knows the Italians do it best because Italians know how to throw a good party, is by putting the bride and groom in the center of the dance floor while everyone holds hands and makes circles around them that get larger and larger. Usually it’s the couple’s parents that make up the first circle. The wedding party makes up the second. Then the rest of the guests make up the rest. The first circle spins clockwise, the second counterclockwise, the third clockwise, and so on. Eventually, the dj or mc will tell everyone to switch directions, and the circles will start spinning in the opposite directions they were originally. They’re so much fun. And if you somehow don’t get in on it when the Tarantella starts, you’re hosed, there’s not getting in because it all just becomes this amazing mess of people that you just can’t get through.”

The informant has never attended a non-Italian wedding, as her entire extended family is Italian. Because her family is so large, she is constantly attending weddings, so she has become quite familiar with many typical Italian wedding traditions. For her, the Tarantella is celebratory and “builds community,” as everyone is holding hands, joining to rejoice in the couple’s newfound happiness. The informant has many happy memories dancing the Tarantella from the time she was an infant. She claims they are just as fun now as they have ever been.

Mexican Rain Dance

Nationality: Mexican
Age: 21
Occupation: Student
Residence: Los Angeles
Performance Date: 4/29/14
Primary Language: English
Language: Spanish

Mexican Rain Dance

Personal Background:

Stephanie is a junior at the University of Southern California studying biology. She has grown up with a lot of Mexican influence, and has even spent some time in Mexico with her parents and grandparents. She is living in Los Angeles at the moment and is very happy with some of the Mexican influence L.A. has.

Ritual:

In the small, rural area that Stephanie is from in Mexico, crops are a necessity. The people grow and eat all of their own corn, as well as other warmer climate vegetables. When she was around six years old and visiting her grandparents in Mexico, there was a lot of rain happening. It is important for the crops to get rain, but there was more rain than they needed. Stephanie’s family then decided they needed to do the dance that would stop the rain. They all started walking in a circle and started to sing as they walked. She says she does not remember how the song goes, but she remembers she liked it. It then turned out that the dance worked and the rain stopped. She is not sure if it was luck that it stopped, or if the dance actually worked. She has not tried it since, but she likes the idea that worked because of the dance her family did.

Even when there is a lot of rain, there are times when there is no rain. One thing Stephanie’s family has done in the past to help get the rain to come is carry a Virgin Mary statue around in the spots they want it to rain. This starts bringing the religious aspects that come with the Hispanic cultures.

These rituals mean a lot to Stephanie because without the rain her family does not have crops to eat. It makes her feel better to think these rituals work because her family spends a lot of time performing them. They give her memories of helping her family have things to eat, and she remembers having fun as kid getting to really embrace her Mexican culture.

Analysis:

This is some religious folk belief. They are doing the dance is part of a superstition, or even a magic to make the crops grow. It might be more of a psychological thing than anything else. If they think their dancing and prayers and work, then they will continue this way.

To me, this is exactly the type of thing a small area would do. They seem to have more rituals and traditions. They rely to heavily on nature, it is there only way they can feel they have control of anything.