Category Archives: Folk Dance

Kamigami-sama Eisa Dance

Nationality: China
Age: 21
Occupation: Student
Residence: Los Angeles, California
Performance Date: March 13, 2014
Primary Language: English
Language: Japanese, Mandarin

Eisa is a traditional Okinawan folk dance, and it uses small handheld drums called paranku. People used to dance eisa during traditional festivals, but now it is just performed for cultural entertainment. It is closely related to taiko.

Our taiko group dances eisa to a song called “Kamigami-sama”. It’s from the soundtrack of Hayao Miyazaki’s movie Spirited Away, and it incorporates many elements of traditional Japanese music. The song’s title means “The Gods”, and it’s actually a silly song about all sorts of gods needing to take all sorts of baths. But people who don’t understand Japanese can’t really tell.

This song has been in our repertoire for quite a number of years now, and we basically just have older members teach the new members every year. Sometimes we might change a bit of the movements or formation, depending on the Artistic Director or on the dancers’ opinions, so each performance is a little different.

Kamigami-sama

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The informant is the Executive Director of her taiko group, so she is knowledgeable about the group’s repertoire and the stories behind most songs.

It is interesting that this piece is never performed the exact same way more than once, since the performances are never written / made “sacred”. With this more fluid nature, performances of “Kamigami-sama” could potentially take big changes as the years accumulate.

Theatre Chant: Eat the Babies

Nationality: American
Age: 22
Occupation: Student, Journalist; Student
Residence: Los Angeles, CA; Boston, MA
Performance Date: April 29th, 2014
Primary Language: English

Two Informants told me of this theatre tradition, meant to prepare the cast and amp them up before the show. The cast gathers around in a circle, wrapping their arms around their neighbor’s shoulders, and begin chanting very fast:

We’re gonna rape, kill, pillage, and burn, we’re gonna rapekillpillageandburn (eat the babies!)

They will alternate between whispering and then shouting or screaming the chant until they feel adequately prepared for the show.

Neither Informant, one male and the other female, liked this chant very much. They found that their friends had more fun participated in this chant more than they did, and they chose to not participate themselves, despite participating in other theatre chants and traditions.

A different chant “My Acka Backa” was much preferred by my female informant, as it was much less lyrically violent. Both rhymes are fairly similar in what they achieve, and in how they are physically practiced. The difference is simply in the aggressive the lyrics are, as opposed to these fairly sexual lyrics, though the actions performed and the volume of singing is both equally aggressive.

Theatre Chant: My Acka Backa

Nationality: American
Age: 22
Occupation: Student, Journalist
Residence: Los Angeles, CA
Performance Date: April 29th, 2014
Primary Language: English

Informant explained that to prepare and amp up for theatre performances, groups would gather in a circle, clap and dance in place to this particular rhyme, which they would chant over and over to a beat, increasing in energy, tempo, and volume, until it is shouted as loud as possible, and as fast as possible. Then the group would stop and cheer.

Informant:  And then this other rhyming one that goes like, “my acka backa, my soda cracker, my GTO, my booty ho, yo ma, yo ma, yo’ granny’s granny’s got a hole in her panties [Made a shape with her hands like a hole], got a big behind, like frankenstein [The hole shape made with the hand expands], goes beepbeepbeep [Often they would gesture honking a horn] down sesame street, that street is slick, as slick as glass, and if you don’t like it, you can kiss my [Rather than saying ass, she pointed to her back]—” and then loops over and over again, increasing energy/tempo/volume.

Informant explained that she had much more pleasant memories of this particular chant rather than the “Eat the Babies” chant. In particular, she remembers jumping up and down, holding hands, as the tempo and volume increased. Both rhymes are fairly similar in what they achieve, and in how they are physically practiced. The difference is simply in the aggressive the lyrics are, as opposed to these fairly sexual lyrics, though the actions performed and the volume of singing is both equally aggressive.

Seijun Suzuki Eisa Dance

Nationality: China
Age: 21
Occupation: Student
Residence: Los Angeles, California
Performance Date: March 13, 2014
Primary Language: English
Language: Japanese, Mandarin

Eisa is a traditional Okinawan folk dance, and it uses small handheld drums called paranku. People used to dance eisa during traditional festivals, but now it is just performed for cultural entertainment. It is closely related to taiko.

An old member of our taiko group is now with L.A. Shisa, a local eisa group, and she recently came back to teach us this song. She danced to it and had us follow step by step, and eventually we performed “Seijun Suzuki” in our annual Spring Concert for the first time.

The funny thing about this song is that it is based on a hip-hop song by Blue Scholars that is named after a famous Japanese movie director called Seijun Suzuki. Another alumni of our taiko group remixed the song “Seijun Suzuki” to combine local Angeleno culture and taiko’s Japanese roots.

Seijun Suzuki Eisa

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The informant is the Executive Director of her taiko group, so she is knowledgeable about the group’s repertoire and the stories behind most songs.

Not only is this contemporary eisa piece similar to the pop-culture mashups that are the craze on YouTube, the way the informant’s taiko group learned Seijin Suzuki was also very performative too, since the L.A. Shisa member had taught them through performance.

Tinikling

Nationality: Filipino
Age: 35
Occupation: Retail Branch Manager
Residence: Yucaipa, CA
Primary Language: English
Language: Tagalog

Steven “Ricky” Phillips was the son of a military family.  They moved around from base to base quite a bit.  He lived in the Philippines for a number of years before moving to The United States of America.  His father was in the Air Force and met his mother in the Philippines while stationed at the Clark Air Base.  Ricky currently resides in Yucaipa, CA with his wife and two daughters.  He is a Branch Manager for JP Morgan Chase Bank, N.A.

 

Somewhere in the middle of the earthquake and the eruption, I had the opportunity to discover more about our culture.  One popular activity is a dance called the Tinikling.  It generally involves two people partnering and dancing between two bamboo poles while another pair slap the sticks on the ground and then slide together.

The origin of this dance isn’t as festive.  It is believed to come from a time when in the 1500s the Spaniards conquered and surpressed the Filipino people, who spent most of their time in the rice paddies.  The Spaniards would punish those who did not work well by making the worker stand between two bamboo poles while they beat the poles against their legs.  After a while, in an attempt to avoid getting hurt, the workers would jump to escape the punishment.  The dance is now named after a local bird as it describes its leg movements, and the dance continues as a maneuver to avoid the sliding bamboo.