Category Archives: Kinesthetic

Body movements

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.

Doe slaps

Text:

AB: “It originated from ‘Give me my dough,’ which may have been more of a universal thing, If someone said something stupid, you’d say ‘Give me my dough’ and then hit them on the head. But then it transformed into, like, the most complex thing ever. It turned into ‘doe slaps,’ so when someone said something stupid you could say ‘doe slaps’ and hit them on the head. But there’s so many different rules. There’s ‘doe slaps extra hardies,’ ‘no returnies.’ But basically, if you don’t say certain things, they can slap you back… it just involved getting whacked in the head for saying something stupid.

I think it started in middle school and it went into the high school. It was big in high school, like if someone said something stupid in class, people would go up and be like ‘doe slaps.’ If it was your friend. It was fun. It was endearing but people slap hard.”

Context:

The informant is a 19-year-old college student from Montclair, New Jersey. She remembers “doe slaps” being pervasive among boys and girls, in middle school but especially in high school. She says that the tradition has died out among her friends from high school, but her younger brother attends the same school and has seen people in his peer group do the ritual.

Analysis:

I think that this game and ritual, like the Circle Game, where one is allowed to hit another person if they make them look at their hand making the “OK” gesture, conveys the competitive, emotionally complex social dynamics between adolescents. Teenagers are very critical of one another and often use the failures or missteps of others to bolster their own self-esteem. While it could be seen as a way to perpetuate power dynamics or convey social status through bullying, it also can be interpreted as egalitarian, since the act demands justification and can technically be carried out by and to anyone. Kids sign a sort of unwritten social contract, allowing them to give people “doe slaps,” but also agreeing that they can receive them.

This ritual involves humiliation and physical pain, however, giving someone “doe slaps” is also a kind of act of endearment carried out between friends. While the act is humbling, the practice conveys someone’s status as an insider or outsider. Being able to give someone “doe slaps” indicates a degree of closeness or a person’s belonging in a social group, since it wasn’t acceptable to do it to people you didn’t know or weren’t friends with. Moreover, the elaborateness and specificity to one school in one town in New Jersey makes the practice a cultural identifier, something which people from Montclair can use to understand and connect with each other. Because there’s no cultural understanding of “doe slaps” outside of the town, and because hitting people under any circumstances is generally not socially acceptable among adults, it makes sense that this practice fizzled out when the kids who practiced it graduated high school and left Montclair.