Category Archives: Kinesthetic

Body movements

Ballroom dance should be awkward

Nationality: American
Age: 25
Occupation: PhD student
Residence: Los Angeles, CA
Performance Date: 3/10/15
Primary Language: English

“In ballroom dancing, especially in the Smooth category, there is uh, mostly for Foxtrot, but with Latin too, there is this that, if you are doing something, uh, and it feels weird, there is this idea that it should be hard, and it should be, like, difficult to make your body do it. That’s what Lorena tells me, since that’s what a lot of other people tell us, too, but Blue, who was back on the team before, he had a different approach, which is not the standard approach, which is that if you are doing something, it should be easier, that you do something right in ballroom dancing by doing it the easier way, which makes more sense to me, and it seems to hold true. I believe that’s how you look at it, but there is this systemic notion that doing things the hard way or in the way that is the awkward way is the correct way.”

 

The informant is a PhD student at the University of Southern California, studying linguistics. He is also a member—and next year’s president—of the University of Southern California’s Ballroom and Latin Dance Team. He specializes in the American Smooth dances (Waltz, Viennese Waltz, Tango, and Foxtrot), though also knows the International Latin dances and many social dances, like Hustle and Salsa. He has been in the USC Ballroom and Latin Dance Team for 2 years, and did ballroom dance at the University of Michigan for 2 years. He competes in the Silver and Gold level Smooth dances, and has placed highly in numerous competitions.

 

The folklore was collected by asking the informant what some of the general customs or ideas of ballroom dancing are, that are not universally taught or understood. This custom he speaks of is often spoken of, or left as an unspoken understanding, throughout the ballroom dancing world.

 

In the paragraph above, the informant mentions Lorena. Lorena is one of the two coaches and teachers for the USC Ballroom and Latin Dance Team. The informant takes classes with both with the club and privately along with his dance partner. She has been dancing ballroom for ten years, and is a professional ballroom dancer and instructor. Blue is the name of a previous member of the dance team, who was an amazing ballroom dancer and now competes at the amateur level. He had danced for 5 years before leaving the club the previous year.

 

Competitive ballroom dance, like the American Smooth category that the informant competes in, is not a folk dance, as there are specific standards for it, and a syllabus of acceptable moves for each level of competition, and the competitions themselves are judged and organized based on official regulations. There are, however, many aspects of ballroom dance culture that can be considered folklore, as it is stuff one learns from other dances, without being official rules or concepts, and this culture can change and adapt itself to each person.

The folklore the informant speaks of is a common concept of ballroom dance: in order to be considered an amazing dancer, it is necessary to be uncomfortable. Ballroom dance requires a lot of awkward positions that are unnatural to do, and can be quite hard to accomplish. This includes the left-side lead of the body, the head tilt, and even the steps—forward steps in Smooth are meant to feel like one is falling forward without correcting for balance, for example. The dance frame, in particular, is exceedingly “uncomfortable” and difficult to maintain.

This discomfort is felt, and even encouraged, by many ballroom dancers. There is a saying that “if you feel uncomfortable, then you are doing it right.” This is what the informant has heard from Lorena, his instructor, and many other ballroom dancers.

What Blue argues takes this concept a step further, and there are those that agree with him, like the informant. Blue believes that although the position and steps feel uncomfortable compared to normal body motions, when done perfectly, they should also feel right. When you have a perfect position, and perfect footwork, dancing should be easier. It should be easier to lead what steps to do, and easier to follow your partner when you are in this “uncomfortable” state. This is also an understanding of many ballroom dancers that some believe and teach, though each dancer has his or her own way of looking at it.

The Story Behind the Shaka

Nationality: American
Age: 18
Occupation: student
Residence: Los Angeles, CA
Performance Date: 1/23/15
Primary Language: English

“Oh it was just a guy who, the story behind the shaka is that there was a guy who was really sweet in Hawaii and he used to wave to everyone, and I think one day, he lost the three middle fingers in his hand and so he would wave at people and it would only be his thumb and pinkie finger, and that’s how everyone would wave back the same way and that’s ow the shaka was invented.”

 

The informant is a 19 year old, studying psychology at the University of Southern California. Her ethnicity is half Filipino, half Japanese, and she is second generation American. She was born and grew up in Hawaii. She lived in suburban town called Ewa Beach, on the island Oahu. Contrary to Hawaiian stereotypes, she does not know how to surf or swim well, nor hula dance, though she enjoyed drag racing and playing volleyball. She spent half of her education in private schools, and half in public school.

 

The informant provided the story after being asked about Hawaii urban legends, or the stories behind a Hawaiian custom. She had heard the story from her friends and family on Hawaii, and considered it a well-known story amongst people who have lived on Hawaii for a few years.

 

A “shaka” is a hand gesture that is made by holding your palm flat and fingers open, then closing your rind, middle, and index finger—it is the American sign language symbol for the letter “y.” You then “wave” the shaka by twisting your wrist side to side. It is often thought to mean “Right on!” or “Holla!” or “Cool!” It can take the place of a ave hello or goodbye, as a much less formal salutation or farewell; this is often accompanied by a “What up, dude?” or “Later!” It is also sometimes used in scuba diving to mean “so cool” or sometimes to represent laughing. It is usually associated with surfer dudes in particular, but also just anyone from Hawaii, or even California.

The story the informant tells is how the shaka was created. Apparently, there was a very nice man who would wave at people with his thumb and pinkie finger, and everyone would wave back the same way. This portrays the so-called “founder” of one of the main symbols of Hawaii as nice and sweet. It is similar to countries describing their national founders with ideals everyone should strive for, like George Washington and the cherry tree and “I cannot tell a lie.” Just as George Washington was honest, Hawaii’s is friendly.

Whether there was actually a man who waved at everyone with only two fingers or not, no one knows—that is not what is important. It is the fact that this symbolic hand gesture that is an important part of Hawaiian culture needed a story to explain it. They made the figure who created the gesture a paragon of Hawaiian ideals (friendly, welcoming, nice). The fact that the story is still around demonstrates how important the shaka and these ideals are to Hawaiians.

Water Polo End-of-game Etiquette

Nationality: American
Age: 19
Occupation: student, recreational water polo player
Residence: Los Angeles, CA
Performance Date: 4/13/15
Primary Language: English

“Sometimes you actually shake hands depending. When you do that, the goalie’s usually the first person, then everyone lines up behind them. […] You get out of the pool and do it, walk along the side. Um, I don’t know.”

 

The informant is a student to the University of Southern California, studying Computer Engineering and Computer Science. She is from the San Francisco area, though her father is from England and her mother from Switzerland. She started playing water polo her freshmen year of high school—though she had enjoyed swimming before that—and she has now been playing for 6 years. She is a member of the recreational water polo team at USC and plays about 4 tournaments a year, along with a few other scrimmages.

 

The informant was asked if there were any customs of water polo games, like how to thank the other team for playing, and this is the answer she gave. though there are no official rules requiring this shaking of hands, every team knows to do so, be it high school or college. She learned of this custom after her first water polo game in high school.

 

In almost every sport, there is a certain etiquette at the end of a game, a way to thank the other team for a good game. In soccer, many teams exchange jerseys, but few other sports take it this far. Most have a similar custom to water polo: both teams line up, often with the goalie—if they have one—leading. As the teams walk down the lines, they shake or high five hands, depending on how much time the teams want to spend. Sometimes phrases like “good game” are said.

The purpose of this custom is to prevent the teams from going off with bad feelings at the end of the game. Even if the other team fouled like crazy or played a weak game, both teams must come together and congratulate each other on a game well-played. It shows respect for the other players and the game itself. Though the teams were on opposite sides does not mean they need to have hostile feelings off the field or out of the pool.

The Turtle and the Shark

Nationality: Samoan American
Age: 19
Occupation: USC student athlete
Residence: USC
Performance Date: April 23, 2015
Primary Language: English
Language: Samoan

The informant’s family originated in Samoa, his parents were born and raised there before traveling and moving into the United States. He takes many visits to Samoa and is very in touch with his Samoan heritage and culture. He shared some common folklore with me that he could think of off of the top of his head. 

Informant…

“During a time of a huge famine and starvation spread across Samoa a blind grandma and granddaughter were put out of there family because they were seen as kind of a burden. They decided to jump into the ocean to cast their fates upon sea because it was giving and caring. Magic turned them into a turtle and a shark. The grandma and granddaughter wanted to find a new home. They traveled for a long time and were constantly turned away from potential homes until they found the shores of Vaitogi. Vertigo had high cliffs and a rough coastline, the shores were occupied by a compassionate and generous group of people. The old woman and her granddaughter turned back into their human form. They were welcomed by the people of Vaitogi. They fed them and offered that they make this village their new home. The old woman decided to make it her home, but she felt a connection to the sea as if it were her home too. She couldn’t stay on land, so she told the villagers that she and her granddaughter had to go back to the sea. She said that they would make village waters their permanent home. She gave the villagers a song to sing from the rocks and a promise that when they sang the song she and her granddaughter would come to visit. They returned to the sea and turned into their turtle and shark forms. To this day, the people of Vaitogi still sing the song and many villagers will tell you that they have personally seen the Turtle and Shark. To each of them the legend is as alive today as it has been.”

The informant also told me that there is a song that goes along with the legend, he said that he doesn’t know it and only certain people in the village of Vaitogi are able to know the song.

Analysis…

This legend of Samoa is different because it goes against the Samoan value of family by throwing the grandma and her granddaughter out of the house. However, this legend depicts that it is hard to be accepted into the different samoan communities but when you are accepted they treat you as family and give you the upmost respect. This legend helps to show the culture of the people of Samoa and how they do things. The grandmother wanted to be a part of the ocean so she left the village that accepted her but lived in the nearby shores and visited only when a song was sang. Also, this legend shows the importance of animals in this society. The grandmother and granddaughter were both transformed into two common sea creatures, and shark and a turtle. The informant wasn’t sure why but it is important to the story. The informant said that this story originated in Vaitogi by its natives, but he heard it from his grandma.

Band laps

Nationality: American
Age: 19
Occupation: student
Residence: Los Angeles, CA
Performance Date: 4/13/15
Primary Language: English

“You take a lap. You have to, like, run around the entire band and if, like, Bartner, or something happens that is about you, related to your name, where you’re from any like quirky traits you have, activities you do. [The purpose:] to point out that you have associations with that.”

 

The informant is a member of the University of Southern California Spirit of Troy. She is a sophomore, both in the school and in the band ranks, studying Computer Science and Computer Engineering. She plays alto saxophone and has travelled with the band to the Weekender and to Notre Dame.

 

Th informant was asked of any band traditions that take place during a practice. She had first learned and experienced this tradition at her first full band practice, and has participated in it ever since.

 

The first thing to know about the marching band is that usually a week or two after joining the band, every one is given a band name, often referred to as their “real name.” For some people, that becomes the name they are known by for the rest of their time in band. The are often only a few words long, but some have been as long as the verse of song. They are often based on traits that the person has or something that they did, and they often tie back to some kind of popular culture, like a movie or book. Some people are even given two names, in which case they are “so-and-so” AKA “something-else.” There are a lot of traditions that are attached to these band names, including taking a band lap.

Practices can be long and kind of boring, at least for rowdy college students, so there are many band traditions that are meant to pass the time and release restless energy in order to get more work done during practice. The band is a group of volunteers, so it is important to keep people entertained enough to keep coming back. One custom, meant to entertain, is taking a band lap. Everyone must constantly be on the look out for an excuse to take a lap, or to make someone else take a lap. The most common reasons to do so are if leadership says something related to someone’s band name, saying the city or state where someone is from, or some clearly identifying feature or characteristic of the person, like “chorus” (in reference to the location of the song, but pertaining to choral people) or “sexy” (anyone who thinks they’re sexy takes a lap). There was one time, the informant shared, where the band was playing “Play That Funky Music” and the director starting singing the main line: “Play that funky music, white boy…” and all of the white males in the band had to take a lap. That kept the band pacified and laughing enough to finish playing the song without outbursts.

Another purpose for taking a lap is to condition the band. A lot of stamina is required to survive a game day, where a band member may be on their feet for up to 12 hours at a time with little to no sitting down. Taking laps periodically during practice keeps band members in shape and more able to stand for such an extended period of time. Also, as the informant mentions, laps just point out that you have an association to that trait or name. It is possible to see who else in the band is Irish by seeing who takes and Irish lap (in the case of “Beat the irish” for notre dame [opposing teams and their mascots do not earn the respect of having capital letters]) with you. It is a way to bring people, who might never have met in the more than three-hundred person band, closer together and encourages connections with other sections.

There are also particular ways to take a lap. Under normal circumstances—mostly during music practice but under other instances, as well—the person whose name, characteristic, or home state was mentioned takes a lap around the entire band, including directors, silks, and all of the instruments, but not including twirlers or prop crew (if they are far away). This is always done in a counter-clockwise rotation. If the band is working on drill for a show, or during a gig when it would not be prudent to run around to the confusion of the audience, then a lap is taken in place, still counter-clockwise. If the band is at attention, then no laps are taken until after the band is put at ease. Then people can do make-up laps for the time when they were at attention. If a band member is sitting down or it is physically impossible to take a lap, but the band is not at attention, the they will do a “finger lap” and point their right index finger to the sky and move their hand in a counter-clockwise direction. There are also more local instances for taking a lap. The informant had a section leader, for example, who would encourage “Galen Center laps” during basketball and volleyball games. The band member would then have to run around the inside of the Galen Center. This is not a band-wide occurrence, just a section-wide one. Other sections have their own special lap circumstances. The flutes, for example, take laps whenever the first letter of their name is called. Since the marching band divides its music into sections with “A,B,C, etc.” letters get mentioned a lot.