Category Archives: Folk Dance

Romanian Wedding Traditions

Nationality: Romanian
Age: 20
Occupation: Student
Residence: Las Cruces, NM
Performance Date: March 19th, 2013
Primary Language: Rumanian
Language: English

Romanian Wedding Traditions

The informant who told me about these customs was born and raised in Romania until she came to high school in the US. Given the fact that she is a native Romanian, she knows a lot about the customs and traditions of the country, especially due to her large family, and the setting she grew up in from an early age.

“The wedding day has three parts. However, before the entire ceremony starts, everyone who wants to, meets at the bride’s house, and they put little balloons and bows on all the cars. The entourage of cars then goes from ceremony to ceremony, honking all the way. This happens between the three different parts, and whoever wants to join the parade of cars can. The first is the civil union, which is basically all the paperwork at the courthouse. That usually happens during the morning and is pretty quick because there are a lot of couples getting married on the same day. Then, in the afternoon, there is the church ceremony. That’s longer, it takes like 1-2 hours. Romania is of the Eastern Orthodox faith, so instead of having the parents bring in the bride and groom, it is actually the godparents who do it,  the godfather brings in the bride, and the godmother brings in the groom. Godparents are very important in the wedding process, because they have both social and financial responsibilities during the event. Godparents are chosen by the bride and groom, and usually they are people who are very close. Anyway, after they come in, they arrange themselves in the front – the bride and the groom, then on either side are the godparents, the man is on the grooms side and the woman is on the bride’s, and then there’s another couple that hold two large candles on either side. The priest then talks about the duties of each partner – its pretty sexist in favor of the man. The bride and groom then get crowns that they put holy water on and then everyone who sits in the front has to kiss the crown, everyone who sits in the front also has to kiss a portrait of the Virgin Mary as well as cross themselves. There is also a table in the middle, and everyone who sits at the front holds hands and circles the table. The bride also has bridesmaids, whose main duties are to pin either flowers, or bows, or some type of ornament onto the guests to distinguish that they are in a wedding. When exiting the church, the guests line up into a semicircle outside holding flowers, and the bride and groom walk through. At the end of this ceremony there is a more modern custom which is the taking of a group picture in front of the church.

The final part of the wedding is the night party, which is equivalent to a reception in the US. Unlike American weddings that end pretty early however, Romanian weddings last all night long, until the next morning. There’s a lot of food, a lot of alcohol, however this is the most stressful part of the wedding to plan out because most Romanians have really large families and you have to invite all of them. Even if you don’t know them, you basically invite who your parents want to invite. You also have to take into consideration how you’re going to seat them all, because you don’t want relatives who have negative feelings towards one another to sit next to each other, but if they have friends in common they have to be close to them. Anyway, its a very complex process, and you make diagrams of where everyone is going to be seated because there is assigned seating basically. How it works is the family and closest friends are closest to the dance floor area, and then everyone else is further away, ranked by how well they know the family. The closer your relations are to the family, the better seating you’re gonna have. In the very middle is a very large table where the bride and groom sit, along with the godparents, children of the godparents, and the parents of the bride and groom as well. Usually there are musicians, called Lautari, who play traditional Romanian music or Muzica Populara. There are also specific Romanian dances that are part of a wedding. There are the group dances, the Hora and the Sarba, which are danced in a circle by a lot of the guests, and then there is the Brasoveanca, which is danced by couples. The guests don’t dance until the bride and groom have their opening dance, which is usually a slow dance by themselves. It opens the last part of the wedding ceremony. There is also a wedding cake, like in Western culture, and the bride and groom get to cut the first slice. The bride also throws her bouquet and garter at some point in the night, there is no set time, but when she does, whoever catches it also gets her bridal veil.

There is also the famous tradition, the ‘stealing of the bride’. So at some point during the night, someone steals the bride, usually friends who want to have some fun. They basically take the bride to a random place, they took my cousin to a pub, and everyone started dancing and having a good time. Then they call the groom, and the groom has to pay the friends who stole the bride in alcohol. So they negotiate how much is too much, and come to a compromise, and whenever the friends are pleased with the offer, they bring the bride back. The party usually stops at some point in the early morning, and guests either sleep over or go back home at like 5 am.”

From the informant’s account, we see how many of the wedding customs in Romania are similar to those of the West, while others, like the stealing of the bride, or the traditional dances are very different. Another important distinction is that, unlike many American wedding ceremonies that have drifted from the traditional format, most Romanian weddings adhere to tradition very strictly. We see this both in the religious ceremony as well as during the reception with the traditional music and dances. The responsibility resting on the shoulders of the godparents instead of the biological parents is also quite different, and points at the fact that Romania is a very religious country, where God and the church are very important. There is also a great respect and loyalty paid to the entire family, which not always happens in the US, illuminated by the fact that the entire family is invited by the parents. The practice of “stealing” the bride is a tradition that is found with slight variations throughout Eastern Europe and some of the Middle East. It takes multiple forms – whether it be stealing objects that the bride is wearing, or the bride herself. However, the overarching goal is for the groom to symbolically “buy” her back. This stems from tradition in the old days when the groom would literally buy the bride with something of value – whether it be money, or treasures, or even livestock. The informant has experienced three Romanian weddings first hand, so she has had exposure to the traditions associated with them.

Festival de Amancaes

Nationality: Peruvian
Age: 22
Occupation: student
Residence: Lima, Peru
Performance Date: February 15, 2013
Primary Language: Spanish
Language: English

Informant is a Peruvian friend who was visiting me this week. She first heard of the Amancaes festival from her grandmother. The Fiesta de San Juan was a festival that took place in the hills of the Amancaes located in the seaside Rimac district of Lima. The Amancaes are bright yellow flowers that grew on these hills during the months of June and July.
The Festival of Amancaes evolved from the pilgrimage site because of the beautiful Amancay flowers that blossomed during the months of June and July and covered the hills in their entirety. In these celebrations, limeñans of all classes and races came down to the hills for unlimited food, music and dance. This celebration went on until 1952 when it was discontinued because the hills of Amancaes were invaded by squatters coming from the outskirts in search of better opportunities in the capital.
This festival was meaningful because Limeñan society has always been very stratified and segregated by class and race. Limeñans of European descent always looked down upon the indigenous and African populations, but on this one day (like Mardi Gras and the Ancient Roman’s Saturnalia) all of these social mores are forgotten and people of all races and classes would party together and share food and drink. Now, there is a festival that was started two years ago called Mistura, this is a gastronomic festival organized every year in Lima and it has become so popular that tickets are sold out almost immediately after they go on sale. This festival is doing the same purpose that the Festival de Amancaes used to do which was to bring society together by providing them with something that people of all ages, races and social classes enjoy: good food.

Tinikling

Nationality: Caucasian
Age: 17
Occupation: Student
Residence: Palmdale, CA
Performance Date: April 21, 2013
Primary Language: English
Language: -

Nicholas Virtue is a student at Quartz Hill High School and has participated in the tinikling dance team for two years. The Multicultural Club at QHHS hosts an assembly annualy, in which a variety of dances and cultural experiences from countries around the world are made available are performed for students. Some examples of performances have been hispanic dances, bollywood, tae kwon doe and karate. The tinikling dance team was put together for this assembly, and their performance is considered the most anticipated and well-loved of the assembly. Although he had no Filipino background, Nic started to participate in this dance his freshman year of high school, at 15 years old. Nic described the performance of the QHHS tinikling dance team at the Multicultural Assembly to me.

Tinikling is a Filipino dance, using 4 pairs of approximately 6 foot long bamboo poles. Each pair of sticks is used by two clappers and three dancers. The clappers clap the sticks together, keeping a steady beat throughout the song while dancers dance through them. It is perceived has a dangerous dance, because any fault could result in the bamboo sticks clapping on feet and injuring them.

The music has a ¾ time signature and no lyrics. Nic described their song as upbeat, using high stringed instruments. He also observed that the noise from clapping the sticks fits into the song, and becomes a part of it. About halfway through the song it begins to get faster, making it more and more challenging for clappers and dancers. The QHHS tinikling team wears the same clothes every year for the Multicultural Assembly performance. No one wears shoes or socks, either during rehearsal or performance. Guys wear red slims rolled up to the knee, a white v neck, and a red bandana around the neck. Girls wear a white v neck as well, but with no bandana. They each wear either green or red skirts, depending on their role in the dance. Typically, there is a different choreography for “girl 1” and “girl 2,” and the color of their skirt depends on their role in the dance.

Since the song is in ¾ time the clappers hit the sticks on the ground beats one and two, then clap them together on beat three. Consequently, the dancers must have their foot out of the sticks on beat three, otherwise they could be injured; leaving them time to dance between the sticks on beats one and two. Some of the basic dance moves include the single, half turn, full turn and front and back. Singles move dancers from one side of sticks to the other. Half turns rotate dancers 180 degrees and to the other side of the sticks. Full turns are complete 360 degree spins. Front and backs take 6 beats to complete, going to one side then back again, leaving the dancer on the same side of the sticks.

While dancers are responsible for their moves through the sticks, clappers are responsible for the movement of the sticks themselves. Stick transitions involve clappers and sometimes even the dancers to move sticks to different formations and have people dancing through the sticks while it is happening, or immediately after the transition is completed. For the most recent Multicultural Assembly, the tinikling team used 4 pairs of sticks, making the plus formation, a square, “ the death box” which resembles a hashtag and was described as the most dangerous and injury-infliction formation, and “the soul train” where all sticks are parallel to each other.

As a clapper, one of Nic’s favorite parts is stick passing. Executed in the plus formation, the inside clappers set down one of their sticks to the person on their right side, who would grab that stick and drag it across, while the outside clapper throws the stick to them (their left). The same thing is repeated in reverse, and sticks are passed in the opposite direction as inside clappers pass to their left and outside clappers throw to their right. All the while, dancers dance between the sticks and jump over them when they are thrown. As complicated as stick passing is to explain, it is even more so to learn and execute. It takes a heightened degree of teamwork to accomplish stick passing successfully. After stick passing, which occurs at the end of the routine during the quickening tempo, the each clapper lifts up the right stick, making four X formations for the final pose.

Nic exemplified the connection a clapper has to their set of sticks by describing each set and labeling one as his own. As stated previously, QHHS used four sets of sticks with four different qualities. Each set was marked with a different color duct tape, blue, red, yellow and white; possibly emulating the colors of the Filipino flag. Blue sticks are the heaviest, and the ones Nic claimed as his own, yellow are the most awkward with one stick too small and the other too large, red are the straightest and most comfortable and white are the lightest. This helps dancers and clappers know which sticks are theirs as they practice with them throughout the year. Nic said having his own set of sticks gave him a personal connection and reminded him of his part in the dance. Each set of sticks brings together a set of two clappers and three dancers (one boy and two girls) as they work together to prepare for the assembly.

Nic began tinikling his freshman year because he had heard it was a fun group of people. His desire to develop community and make friends drew him to tinikling, despite his lack of Filipino background. The challenges and high stakes of tinikling draw the community together in order to achieve their goal and perform at the assembly. Some of the stick transitions and dances require teamwork, exemplified by “the death box.” During this transition, two sets of clappers flip their sticks over the heads of the other two sets of clappers, laying their sticks in a hashtag across each other. The dancers then enter into this box, one after another. If clappers do not transition correctly or clap in time, or if the dancers hesitate and don’t enter the box on the correct beat, not only is the dance move ruined, but there is a high change of head or foot injury. The high stakes motivate dancers and clappers to work together, developing community along the way.

The following video is the QHHS Tinikling team at the 2013 Multicultural Assembly. The video with the opening choreography. Then the dancers and clappers switch positions and there is a transition from the plus stick formation to a square formation.

Quartz Hill High School Tinikling

Irish Dance Competitions

Nationality: Irish, German, French, Czechoslovakian
Age: 22
Occupation: Student
Residence: Los Angeles, CA
Performance Date: April 18, 2013
Primary Language: English
Language: Spanish

Siobhan was very active in Irish Dancing from age 5 to age 18. She described a typical dance competition to me.

The two most common kinds of dances are soft shoe, or the reel, and hard shoe. Soft shoe dances are bouncy and fast paced. They use leather shoes, that criss cross at the front. Hard shoe dances like the horn pipe are danced using trebles and clicks. Trebles are when the dancer brushes their foot backwards and forwards and clicks are when the dancer hits their heels together to make a clicking noise.

Siobhan described a couple of narratives that were represented through choreography. A group dance represented the weaving of an Irish cloth. Another dance features boy and girl pairings and centers around Irish women and their sailor husbands who are leaving for sea.

The competitors are judged on technique, energy and stamina. Judges look to see that the soft and hard shoe dances are properly executed, like the “turn out” with feet crossed over and turned in. Dancers must maintain energy, exhibited by high jumping and high kicks. Although the dances are generally short, they take endurance, so stamina is another category to be judged.

The music they dance to is typically live music consisting of accordions, fiddles and keyboards. The music is lively, fluid and constant throughout the competition.

Irish dresses typically have Celtic designs, each with its own unique narrative behind it. However, Siobhan has noticed a trend in competitions recently to stray from the natural and traditional and towards a beauty pageant atmosphere. Girls now have sequined dresses and wigs instead of traditional Celtic designs and natural curly hair.

Local competitions are usually held in ballrooms of hotels, with a stage set up near the front. Regional or national competitions are held in larger hotels with multiple ballrooms or convention centers. World competitions are held in either Ireland or Scotland and occasionally in the US.

Audience members include families of dancers, dance teachers, other students from dance schools of Irish dance and any interested public in the area.

Siobhan noted that Irish dance is not exclusive to ethnically Irish individuals. She has met Asian, African American and South African people at Irish dance competitions. Siobhan noted that the experience fostered a sense of diversity.

Sardana (Dance)

Nationality: Spanish
Age: 35
Occupation: Spanish Professor
Residence: Los Angeles, CA
Performance Date: April 2013
Primary Language: Spanish
Language: English

“There’s a dance that’s called Sardana, which is very very different than Flamingo, which is the typical dance people think about when they think about Spain. Um, it is a more, it’s more quiet, and you dance it as a group. So you kind of hold hands and make a circle similar to, I don’t know, maybe with the Greeks Sirtaki where the people are holding hands. Um there is a group leader that counts the steps as you’re dancing and he announces what comes next. There are three basic steps to the dance and you follow the song. It’s played with only three instruments, una grulla, which is a very different flute, a little drum, and then a variation of a flute, so it’s kind of two flutes with a little drum. What I like from that dance is um, no matter how good or bad you are, (of course there’s always professional groups that dance together) but whenever there is a celebration, everyone joins a big circle. So kind of the town gets to do something together at the same time which is also really really nice. And origins come from Middle Ages and have evolved, and again during Franco’s time they were forbidden, but after Franco died I think there has been a renewal of the tradition and a big effort by the Catalan government to get them back to the society. They’re brought into schools and kids are taught how to dance the Sardanas these days.”

This dance is simple, but very important for celebrating and bringing people together. As with the other cultural traditions of Cataluña that the informant mentioned, this one was also influenced by Franco’s strict rules. Despite these restrictions, it is obvious that the dance is valued because they are making such an effort to promote it and teach it to the new generation. Like the Castells, this ritual is a way for people to feel the unity of their town or region, because everyone is joined together. It is a treasured Spanish dance (though not the well known Flamingo), but the informant also relates it to a Greek dance, so she does not necessarily take ownership of it for Spain exclusively.