Category Archives: Kinesthetic

Body movements

Little Sally Walker

Nationality: American
Age: 12
Occupation: Student
Residence: Studio City
Performance Date: 19 April 2019
Primary Language: English

Text

Informant: So, “Little Sally Walker” is a game where there’s a bunch of people and you run in a circle… or, somebody runs out and they run in a circle. They go in a circle and they sing

 

Little Sally Walker

Walking down the street

She said “I didn’t know what to do”

So she stopped in front of me and said

 

(Now they stop in front of a person and the person copies their dance)

 

“hey girl do your thing

do your thing

hey girl do your thing do your thing”

Now stop!

 

And after that they do the same dance move and the person who did the dance move goes on and goes in the same circle and it continues to go along for a while.

 

Context– The informant is my twelve-year old sister. She learned these songs while going to various summer camps over the years and has often taught them to her friends so that they could sing them together for fun.

 

Analysis– This song has two aspects to it: the vocal and the physical. The singing alone would amuse children, but its combination with a dancing game would probably make it a great source of entertainment for younger children. It is also a great way for camp counselors to distract children when they are waiting for activity or event. The game only requires the knowledge of the song and, therefore, could basically be played anywhere. This fact probably helps the counselors when they need more time for preparation for activities, using the song to entertain the children while they wait.

Splitting Poles and Friendship

Nationality: American
Age: 19
Occupation: Student
Residence: Los Angeles
Performance Date: 4/3/2019
Primary Language: English

Transcription

Collector: So yeah, I remember when we were hanging out that you, like, had us walk around the poles if we both went on opposite sides of it. Is that something you do with everyone or, like, how did you learn that?

Informant: Yeah! So, when I was in sixth or seventh grade, my best friend did it because she was superstitious. And she was superstitious because her mom was, so like it kind of passed on to me. But now it’s basically conditioned in me so I always do it.

Collector: so what does it even mean to split the poles?

Informant: So if you’re walking with someone or a group of people and you pass by a pole or trash can or anything that’s an obstacle, you all need to walk on the same side of the obstacle or you will split with the person who walked on the other side. And by split, I mean no longer be friends. Like there will be a big fight in the future or the people will just stop talking with each other. So you have to walk on the same side because then you’ll lose each other.

Context

Collector lives with the informant and is best friends with her. The practice was viewed many times as they were together and the collector wanted context for it. This explanation was prompted by the collector’s question about the origins of the custom. At this point, the custom is a habit for both the informant and the collector, who both make conscious efforts to walk on the same side of the pole. If one of them is on the wrong side by accident and realizes after the fact, they will go back and walk around on the correct side of the pole to undo the mistake. 

Analysis 

In this case, I feel that the act of “splitting the pole” is seen as homeopathic magic, as the physical, bodily splitting represents the metaphorical and emotional split as well. However, in this case, it isn’t a representation of the person that is being performed upon, but instead the people themselves representing a future version of themselves. The tangible, current action of walking on either side of the road is a representation of the future emotional split that could happen as a result of the gesture.

French Wedding- Umbrella Tradition

Nationality: French
Age: 64
Occupation: Retired
Residence: California/ France
Performance Date: April 8, 2019
Primary Language: English
Language: French

Piece:

BM: “One of the wedding traditions still in play in the Brittany region and in the Loire region is the tradition of the umbrella.  And it is not because these regions are also famous for frequent rain. Referred to as the ‘dance of the umbrella’ this is a beautiful tradition which takes place during the evening of the wedding banquet.  It is also called the Umbrella of Happiness.  When the newlyweds open the wedding ball, the couple must dance a slow dance under a large white umbrella while the wedding guests throw streamers at them.   The streamers which stay attached to the umbrella represent each year of happiness awaiting the young couple.”

Context:

The informant is a 64 year old woman from France who married an American, although she still often resides in France. She has been to multiple weddings with this tradition being practiced.

Analysis:

This practice is very symbolic. The umbrella being white is an important element that implies a brighter future, versus the more somber quality a typical black umbrella would provide. Dancing under the umbrella perhaps is representative of standing together “rain or shine” in marriage, and the streamers being thrown remind me of rice being thrown as couples exit a chapel. An element of luck is involved with how many streamers attach to the umbrella– in essence, this stands for how there are elements of life the couple cannot control, no matter how dedicated they are to each other.

 

The Elbow game

Nationality: Ethiopian
Age: 19
Occupation: Student
Residence: Pomona, CA
Performance Date: 04/13/19
Primary Language: English
Language: Amharic

The informant is my 19-year-old cousin who now lives in Pomona, CA, but grew up in Addis Ababa, Ethiopia. She learned this game from other kids at her international elementary school.
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“So I don’t know if this really counts as a game, but there’s this thing we used to do when we were little…here. Stick out your arm. Okay, so, one person holds their arm out like that [gestures to my arm] and then looks away, or, actually, they close their eyes. Okay, so close your eyes. And then the other person kind of walks their fingers up their arm, but like, really slowly. And the point of the game is for the person who has their eyes closed, they have to see if they can guess when you make it to their elbow. Well, not their elbow, but, like, the inside of their elbow. Or whatever it’s called where your arm bends, but on the other side.”
——————–
Even though she attended an international school, my cousin learned this game in Ethiopia. I found this incredibly interesting, because I also knew this game when I was little, even though I grew up in the New York, and other people who grew up in other states also know this game. It’s interesting how the same games (and more broadly the same folklore) arise in so many different places that are seemingly unrelated. There are other examples of this, including that every culture has a version of the idea of dragons, but this was the first example I had really seen personally of such a specific piece of folklore existing in two such different places. Though it is easier to deduce how such a game might have reached my cousin’s school, being that it was an English-language international school where many students were the children of American expats, it really reinforced to me the “multiplicity” aspect of Dundes’s definition of folklore, which I find incredibly fascinating.

French hand game

Nationality: Moroccan, French
Age: 19
Occupation: Student
Residence: Larchmont, New York
Performance Date: 03/12/19
Primary Language: French
Language: Arabic, German

The informant is my 19-year-old friend from my French high school. Though she currently lives in New York, she grew up in Germany, and her family is Moroccan. I asked her what games, songs, or rhymes she remembered from growing up, and she volunteered this hand game that is commonly played in French elementary schools. My friend did not know the name of this game, nor does she remember being taught it or teaching it to anyone, but she played it with her friends and most of the kids she grew up with also knew it.

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“Okay, you start by saying, “Si tu perds t’auras un gage,” which means “if you lose, you’ll have a dare,” and then you start the game. Although, to be honest, I don’t think I ever actually did a dare after playing. So … [demonstrating with hand gestures] you clap your hands one time, then you clap once with the other person … diagonally, and then you clap your hands again. Then the same on the other side [demonstrating], then your hands again, then both of your hands with the other person’s hands. And you just do it faster and faster until someone messes up.”

——————–

Though my friend and I both went to french-language schools growing up, she grew up in Germany, and I lived in New York, which made it interesting to me that we both had played this game as children. This was another place I observed Dundes’s stipulation that folklore must have multiplicity. I also thought it was interesting that the game never really had a name; an interesting aspect of folklore is that things can be spread, reproduced, and taught to other people without having a specific name for what that thing is. I also thought that might have to do with the fact that it one of the things children teach each other, which might be it is so simple (no name, very easy to learn). Another thing I found interesting was that neither she nor I ever actually had to perform a dare after losing the game, because the fact that the song starts off with that line suggests that there was a time where that was a legitimate part of the game, and that over time it was eventually lost. I thought it was an interesting example of the fact that folklore is never static, because the game is so simple and has so few parts, and yet it has still changed over time.