Category Archives: Kinesthetic

Body movements

Cross Country Running Superstition

Main Piece:

In a conversation with the informant, SE, we discussed his time running in high school and a pre-running ritual he observed every time.

SE: “There’s a saying to never stretch your calf muscles before a race. Something my dad told me that he learned when he would race in high school.”

Me: “Why not?”

SE: “There’s a superstition around keeping your calves tight so that you’re like more springy. And I’d tell my teammates, but they wouldn’t listen.”

Background:

The informant is a long time runner who had done cross country all four years of high school and now runs for recreation. His dad was also a cross country runner and is a recreational runner now as well. He still doesn’t stretch his calves before attempting a speed trial to this day, as it is so deeply engrained into routine.

Context:

After going on a run together, I saw he was stretching out, but didn’t stretch before hand like I did. This prompted a conversation where I was let in on this superstition.

Thoughts:

It’s unclear whether or not there is a real science to back this up, but it has clearly effected his racing as he placed extremely well in races in his time racing in high school. Regardless of the scientific backing, it clearly impacts how he views his running capabilities and has cemented into the way he views the sport.

Video Game Taunting – Online Insults

Main Perfromance:

In the online game series called “Halo,” CS was exposed to the start of a long running insult to one’s opponent called “tea bagging.” The movement, crouching up and down over a dead enemy, was so infamous that it got its very own name.

Background:

This action of crouch spamming over an opponent that the player killed, has since expanded to pretty much all online shooters, but is less often called by the name. Instead, the action is by far the most recognizable part of the gesture.

Context:

When playing the online game “Overwatch” with CS, he got killed and “tea bagged” by the enemy team.

Thoughts:

Disrespect and crude humor is a common occurrence in online video games, especially when it gets very competitive. The same way that basketball players might taunt each other before and after making shots, online gamers treat the sport with a similar attitude. With more and more humor coming from the internet, on occasion, this emote/crouch spam taunting makes its way even into the material world.

Reference:

I found one other post about this online taunt/humor in our archive:

http://uscfolklorearc.wpenginepowered.com/video-game-celebration-american/

Jazz Slang – Band Leader Terminology

Main Piece:

CS (mid-twenties, white male, music degree background, LA resident) and I had a conversation about musicians.

Me: “So can you like explain that phrase, ‘take it to the top?'”

CS: “Take it to the top means to go back to the beginning of the song.”

Me: “That’s it?”

CS: “Well, like, there’s also usually a hand motion too.”

He mimes spinning his hand in a circle in the air.

CS: “When we used to play at bars in New York, I’d have to swing my hand around all wild and scream it out just to get people to hear me. It’s usually energetic like that, ya know? Like when you want to keep the jam [song] going, you take it back to the top.”

Background/Context:

Phrases like this seem to be universal to musicians and are passed on homogeneously by other musicians and music teachers. The emphasis of this saying is returning to the “top,” which references the top of a music sheet where the notes would begin. The only real time that this phrase would appear would be during a live performance or amidst a practice with a band that plays the sort of songs that don’t have a clear run time.

Thoughts:

Jazz definitely serves itself to folk expression because of the collaborative nature of the music. Call outs like this connect the band into a collective consciousness that allows them to move as a uniform organism. The call out to loop the song also greatly relies on reading the audience for when the energy in the room wants the song to continue, versus wanting it to end.

Mary Mack

Context:

AS grew up in Ontario, Canada, and remembers playing this clapping game on the playground growing up. This piece was performed as a form of play between two children in coordination with a clapping game. The game consisted of both participants clapping their two hands together, then clapping on of their hands to the other person’s (right hand to right hand) and then repeating, alternating the hand that they clapped against the other participant’s.

Main Piece:

“Oh Mary Mack, Mack, Mack,
All dressed in black, black black,
She asked her mother, mother, mother
For fifty cents, cents, cents, 
She climbed a fence, fence, fence,
She went so high, high, high,
She didn’t come back, back, back,
Till the Fourth of July, -ly, -ly”

Additional Commentary:

“I don’t know why we said fourth of July because that meant nothing to us as kids. But, the point was, is it kept going and going and going and going, and it got slowly faster and faster and faster until one of you messed up. Then you probably slapped ‘em or something, I don’t know. So there were lots of variations on that.”

Analysis:

Both the rhythm of the clapping game itself and the song are relatively simple, so once the game and song are learned, the challenge consists in the ability to maintain coordination of singing and clapping in the correct rhythm while continuously increasing the speed. The song rhymes and repeats in sections, which makes it easier to remember.

AS has no idea what the song was about, but still remembers the lyrics and hand movements decades later. Though, with the general trend of folkloric children’s songs being about taboo topics like sex and death, there are some lines that could point in that direction. The lines “She climbed a fence… she went so high… she didn’t come back… till the Fourth of July” seem like they could hint at something darker, especially since they do not clarify how she came down (climbing or falling). The final line also points the origin of the song in the United States, as the Fourth of July is Independence Day in the US. AS grew up in Canada, so, as she mentioned, the date “meant nothing to us as kids.”

When trying to discern the meaning of the song, it’s important to mention that there are other recorded versions of this song that include different variations on the lyrics. In another version, it is not Mary Mack that climbs the fence and doesn’t come down till the Fourth of July, but instead an elephant that jumps the fence, touches the sky, and doesn’t come back till the Fourth of July. For a recording of that version, refer here: “Miss Mary Mack,” Ian Cabeen, USC Digital Folklore Archives, May 17, 2021. http://uscfolklorearc.wpenginepowered.com/miss-mary-mack-2/

Musical Theater Pre-Show Ritual: Linking Pinkies and Biting Your Thumb

Text:

MA: “A pre-show ritual we would do at my high school, if you were sticking your thumb and your pinky out, you would link your pinky with someone else’s and then bite your thumbs in front of each other’s faces. It’s kind of like a kiss, but you’re not actually kissing.”

Context:

The informant is a 20-year-old college student from Orange County, California, who did musical theater throughout her childhood and attended a performing arts high school. She and her castmates in high school would do this ritual before the beginning of a performance. MA described how the gesture allowed performers to be calm in the high anxiety moments before a show. The intimacy of this act, which she compared to a kiss since “you’re literally a hand’s length away from each other’s faces,” fosters a sense camaraderie between members of a cast which can boost performers’ confidence.

Analysis:

This ritual, like many if not all pre-show rituals, evokes a sense of solidarity between performers. Because performers spend so much time together rehearsing, members of a cast tend to bond with each other. This is important since live theater relies on each individual’s performance as well as the interactions between performers, so fostering a sense of community promotes the success of the actors and of the show. The medium demands vulnerability from performers, who must put themselves on display and maintain their dramatic personas while fielding the immediate, unfiltered reactions of the audience. Thus, a show’s success relies on the cast’s ability to trust one another. This intimate musical theater ritual both reflects and promotes the closeness of the cast, conveying that the performers’ trust and believe in each other. This sense of support and community can build confidence and lessen stress, enabling better performance. It can also be interpreted as a good luck ritual or even a superstition.