Category Archives: Kinesthetic

Body movements

Gesture: “Delicious”

Nationality: Italian American
Age: 62
Occupation: Professor
Residence: United States
Performance Date: 03/30/2016
Primary Language: English
Language: Italian and French

Main Piece: “So, when an Italian loves something he or she’s eating, they…um…express satisfaction by taking their index finger [laughs] and putting it at their cheek and going like this [motions twisting of index finger on cheek and puckering lips]. And that’s supposed to show how much they think what they’re eating is delicious.”

Background: The informant noticed this gesture among family and friends eating a meal. She enjoys this gesture because it’s so unfamiliar in comparison to an American gesture of satisfaction. Instead of rubbing our bellies or smacking our lips, the informant notes, “it is mistifying why we would point to our cheeks, but also makes sense since we eat with our mouths.” This gesture is recognized as a huge compliment to whoever made the meal and is also a way of connecting with the other members of the table eating the meal.

Performance Context: The informant sat across from me at a table outside.

My Thoughts: I am somewhat familiar with the importance and value of cooking and sharing a meal in Italy; preparing the dishe(s), inviting the guests, and sharing the meal are all important components of the gathering. The informant’s comparison of an American gesture of satisfaction versus an Italian’s, touches upon the subtlty of Italian expression. Rather than a loud (perhaps rude) smacking of the lips or shameless rubbing of the stomach, the Italian gesture is more subdued. The complimentary aspect of the gesture places value on the meal and the company one shares the meal with. The gesture was informally inherited by the informant in a social context. Although she only uses it when surrounded by people who understand it or use it themselves, she remembers it as a significant piece of folklore.

Gesture: “Occhio”

Nationality: Italian American
Age: 62
Occupation: Professor
Residence: United States
Performance Date: 03/30/2016
Primary Language: English
Language: Italian and French

Main Piece: “When Italians want to point out cleverness, they use a gesture rather than words. They take their finger and they pull down on the bottom of their eye, which opens the eye more, and that indicates that this person is clever in the sense that they are sly. There’s another way…I’m not positive…to pull the cheek down to open the eye.”

Background: The informant would often see this gesture when people would try to speak about another person without using words. According to the informant, instead of verbally communicating, a physical gesture is used because it is universal and non-confrontational. This gesture isn’t always used as a compliment, it can be a mark of dissaproval. This gesture is done to another person, communicating this thought of cleverness about the other.

Performance Context: The informant sat across from me at a table outside.

My Thoughts: Using a physical gesture as a medium of foklore is a noteworthy method of communication. Its physical nature, rather than verbal, can be comprehended universally, as the informant noted. The opening of the eye seems to be a watchful, all-knowing way of letting the receiver know his/her slyness is recognized. Although this gesture may not mean the same things in a variation of contexts, the eye is the watcher, the giver of sight and truth. It is also interesting that this mark of cleverness is not always a compliment. Being sly versus being clever is a mark of acceptable versus unacceptable.

For further reference see: http://en.blog.hotelnights.com/italian-gesture-language/ for alternative explanation of the gesture.

Stretching to Grow

Nationality: American
Age: 57
Occupation: General Contractor
Residence: San Diego
Performance Date: April 20th 2016
Primary Language: English

 

Description (What is being performed): 

When by brother was a kid my father would stretch him out by pulling on his legs as He held onto a pole we had in our backyard. He did this to stretch him out with the expectation of growing taller if it was done every day.

The Informant (Background info about performance from informant):

Me: “How did you come to know about this method of growth?

Dad: “Your Gramps did it to me, and my gramps did it to him?

Me: “But we don’t know what it actually works, right?”

Dad: “Some days I seem to think so (laughs)”

Me: “And why did you feel the need to aggressively pull your sons legs? (Laughs)”

Dad: “It’s all about basketball. You got to be tall in that game.”

Me:”So what you’re saying is you really wanted your son to be tall enough to play basketball and would do whatever it takes.”

Dad: “Pretty much, yeah.”

Me: “What does it mean to you?”

Dad: “What does it mean to me?”…”It’s a fathers way of not accepting things as they are. Maybe it’s arrogance, thinking we can shape our sons into what we want even if it’s attempt to defy the reality.”

Me: “That’s an interesting thought. In a way it’s a very micro version of boiling down the dilemma of man vs nature.”

Dad: “In a way, except we were also unsure at the time whether or not it worked. It started out as experimentation, then as time went on it was wishful thinking when we realized no one grew.”

(closing words)

The Analysis (My Thoughts):

The informant brings up an interesting perspective regarding what the belief means to him. He states “It’s a fathers way of not accepting things as they are…thinking we can shape our sons into what we want even if it’s attempt to defy reality” this I notice is a long standing trope between not just fathers, but parents and their children. They’ll go as far as to practice an unproven method of getting their child to be who they want them to be. Also so long as it can’t be disproven, they’ll continue to utilize it to simply feed into that desire. This seems to be something we can see along many folk beliefs, not so much in the parent child situation, but people hold onto and live out these notions through generations because of a traditional/long standing desire that these long standing tradition beliefs satisfy. Additionally a component of both this stretching out to grow belief and folk beliefs in general is that they become a bit of identification for lineages who pass whatever it is down. As my father states he knew that it didn’t work but his father grandfather did it to his father, and his father to himself, and subsequently he did so to his son.

The Traditional Kenyan Greeting

Nationality: Kenyan
Age: 19
Occupation: Student
Residence: U.S.A.
Performance Date: 4/27/2016
Primary Language: English
Language: Swahili

“When you greet someone who you consider reputable or older than you, you greet them by shaking their hands with both of your hands. You keep on holding on until they acknowledge you and say thank you. Usually, you do it with people you don’t talk to every day, like the parents of your friends.”

In Kenya, it is traditional to shake another’s hands with both of your own hands when greeting an elder or a person of high status. Because the other person is meant to have the control, it is they who decide how long the handshake should last. You are only supposed to let go after you have been acknowledged.

The informant, Alastair Odhiambo, is a 19-year-old international student who was born and raised in Nairobi, Kenya. Alistair and his family have deep roots in the country, so he is confident that he knows a great deal about Kenyan folklore. Although Alastair does not remember who taught him how to properly shake an elder’s hand, he does know that he picked it up after observing how other Kenyan children interacted with their superiors. He claims that Kenya has long valued respecting elders, so this tradition is only a reflection of that belief.

It is always interesting to see how ancient values and beliefs are still maintained in today’s modern culture. Even though it may not seem like much, the way young Kenyans shake the hands of their elders says a lot about the country and what they believe in. It reveals that all elders and people of high status must be treated with honor and respect. The fact that Alastair was able to learn this common practice simply by observing others tells us that it is popular and that it is used quite often.

 

 

 

 

 

Dabke

Nationality: Syrian/Lebanese-American
Age: 50
Occupation: Accountant
Residence: Plano, Texas
Performance Date: March 13, 2016
Primary Language: English
Language: n/a

So anytime there is a gathering of Syrian-Lebanese people, and um it’s a celebration of any type, there will be music playing, and the music has a very unique rhythm, usually a very strong percussion base, and so that lends itself to a lot of folk dancing, and the folk dancing is when the families, members of all ages, get together and hold hands and do a um a dance, and it’s a repetitive dance of about eight or twelve counts, and you just do it as long as the music is playing. So if you have someone playing, oh and the percussion I mentioned earlier is called a derveke, and uh used to be made of a wooden or metal drum with animal skin stretched on top, and it could make a really loud sound, so as long as the dervake is playing, you can dubke, so whether you have a full band or just a derveke, you can do the dubke. It is significant to me because well that if I don’t carry on the family traditions and teach my children how to do the dubke and the family recipes, it will die out and there will be no heritage.

Informant: The informant is a Catholic mother of five, of Syrian descent. She is from Kinder, Louisiana, where she grew up in a large family.

Analysis:

I believe that this tradition and practice of dance and folk music greatly exemplifies the communal aspect of the Syrian-Lebanese culture. The gathering of Syrian-Lebanese families is usually quite large, as extended families come together to celebrate. The music lends itself as a great example of the history of the culture, as the specific instruments that are used to play music in America are derived from or are the same as those that were originally played in that region. As the rhythm lends itself to folk dancing, the communal aspect of the culture is apparent in the holding of hands during the dance, and the need for each participant to be synchronized with the rhythm. Because it is a line dance, if one person missteps, it can interrupt the synchronization of those around them. It is also interesting how the repetitive nature of the dance movements demonstrate how the dance is learned, as anyone can stand up, hold the hand of the last person in line, and follow their steps that match the rhythm. This once again demonstrates the communal aspect and the importance of celebrating the Lebanese-Syrian community through dance.

I also thought it was interesting about the association of “heritage” with this dance. Because the dance is learned from other people and can vary from place to place and person to person, it is more of a tradition than heritage, especially because it is a mode of activity that represents the past. Heritage, on the other hand, is not an activity, but rather an inherited set of relationships about who you were in the past. So, this practice is a tradition that celebrates the past of Lebanese-Syrian cultures and in doing so, it is a way for the people who partake in it to acknowledge their heritage. I was also able to learn parts of this dance, as I was invited to partake in the tradition. This was a lot of fun for me, because the rhythm is very up-beat and perfect for dancing.

Annotation: