Category Archives: Kinesthetic

Body movements

Lilli Lilli Auzak: Farsi nursery rhyme and hand game

Nationality: Pakistani
Age: 60s
Occupation: Homemaker
Residence: Pakistan
Performance Date: 2/09/14
Language: Urdu, Farsi, Punjabi, English

Context: The informant is a grandmother of 8 whose parents were originally from Afghanistan but settled in Pakistan. She also lived in Saudi Arabia for many years and has a working knowledge of Farsi, Arabic, and Punjabi along with her native Urdu. The following nursery rhyme is one in Farsi that she and her siblings learned from their mother when they were very young, but that few of their children (and subsequently grandchildren) learned in their turn.

Audio File

Text in Farsi:

Text in Farsi for Nursery rhyme "Lilli Lilli Auzak"

 

 

 

 

 

 

 

 

 

 

 

Transliteration:

Lilli lilli auzak

dowre auzak sauzak

Tutti (murghe) aamad au khord

Paish lakkad au bourd

Ee gereft, ee pukhte kard

Ee rasad kard, ee khord

Ee  aamad:

     “Khala khala?”

               “Jaane khala.”

     “Rasad-e-ma kojaast?”

              “Meene doli.”

     “Meene doli neest.”

               “Peeshek khourd.”

     “Peesheke softe neest?”

               “Une aamad, miaouw, miaouw, miaouw”

Translation:

[note: This translation was not a line-by-line rendering; rather, the informant gave a general idea of what the little narrative was about, in Urdu. The conversation was then translated into English, which is what appears below.]

Inf.: There was a auzak, you know, like how do you say?

Me: Like a fountain?

Inf.: No, not fountain.

Me: A pool?

Inf.: No, not a pool–but anyway, there was–and you know how at the edge of the water that greenish chip-chip [sticky] stuff that grows you know? Around the auzak that slippery stuff was growing and a murgha [rooster*] came to drink water, and his foot slipped on the green stuff, so, he fell in and drowned. One got him, one cooked him, one served him on the table, one ate him; and the fifth came and said, khala (mother’s sister=aunt), where is my piece? And she said, It’s in the doli (pot). And he said, No it’s not. And she said, Then the cat must’ve eaten it. And he says, the cat’s not here, there’s no trace of the cat, and she said, No look, here he comes going “meow meow meow”.

*[note: in the transliteration above, both murgha (rooster) and tutti (parrot) are mentioned; in the audio, the informant almost says tutti but says murghe instead; and in the written text, only tutti is mentioned, but spelled two different ways.]

Physical description: Like the Western nursery rhyme “This Little Piggy”, this rhyme also has a tactile/physical component. The performer takes the child’s hand in theirs and begins the first two lines by tracing a circle on the child’s palm. At the third line, the performer imitates a bird’s peck coming to land in the center of the child’s palm (representing the rooster/parrot coming to drink water from the pool) then twists the tips of the fingers around to indicate the drowning. At lines 5 and 6, the performer closes one finger into the child’s palm for every action mentioned (i.e., “one caught it”=a finger down, “one cooked it”=second finger down, etc.) and at the seventh line, the performer holds the child’s thumb and wiggles it to match the conversation between the little boy and his aunt. At the mention of the cat coming (“meow meow meow”) the performer usually walks their fingers up the child’s arm and tickles them.

Analysis: This nursery rhyme is one of the only ones that is somewhat familiar to the informant’s children, who are all Urdu-speaking themselves, not Farsi-speaking. It is relatively easy to remember because so much of it rhymes and many of the words are the same in Farsi and Urdu (like rooster, parrot, foot, pot, aunt, etc.). Like many nursery rhymes with a physical component, this one in particular may be popular with young children because an integral part of the performance is the physical contact and the subsequent connection established between the parent (or other beloved adult) and the child, who relishes the special attention. The tickle at the end especially is eagerly waited and enjoyed, because the child and the adult both know it’s coming, and the slow buildup to it is part of the appeal.

As for the content, it seems to be a common occurrence in nursery rhymes, both Western and otherwise, for animals or even people to be violently injured or killed, and/or cooked and eaten (for instance, Sing a Song of Sixpence). The cat taking the blame for the boy’s missing share is an interesting element: the aunt (and other family members, of course) have eaten their find and left none for the boy, who immediately notices and outright asks the aunt, who outright lies to him and redirects his attention elsewhere. Both are quite aware of what the other is up to, but engage in this playful banter anyway. I think this may exhibit and model a joking relationship between aunts and their sisters’ kids, or more generally, between children and their parents’ siblings that is also present in real life. In the informant’s family, for instance, her youngest sister is only a few years older than the informant’s oldest daughter, and so the aunt and niece maintain a very casual, joking, teasing (but still respectful) relationship.

“Rare Bog, Rattlin’ Bog,” A Camp Song

“Rare Bog, Rattlin’ Bog,” A Camp Song

Chorus (clapping)

Rare bog, rattlin’ bog, way down in the valley-o

Rare bog, rattlin’ bog, way down in the valley-o

And in this bog

There was a tree [arms in front of you in a circle]

A rare tree! [swing arms to left and right]

A rattlin’ tree [shake arms down and right]

[clapping]: And the tree was in the bog, and the bog’s down in the valley-o!

Chorus

And on this tree

There was a branch [stick one arm out]

A rare branch [swing arm back and forth]

A rattlin’ branch [shake arm down]

And the branch was on the tree, and the tree was in the bog, and the bog’s down in the valley-o

Chorus

And on this branch

There was a twig [stick one finger out]

A rare twig [swing arm back and forth]

A rattlin’ twig [shake arm down]

And the twig was on the branch, and the branch was on the tree, and the tree was in the bog, and

the bog’s down in the valley-o

Chorus

And on this twig

There was a nest [make hand into a fist]

A rare nest [swing back and forth]

A rattlin’ nest [shake arm down]

And the nest was on the twig, and the twig was on the branch, and the branch was on the tree and

the tree was in the bog and the bog’s down in the valley-o

Chorus

And in this nest

There was a bird [repeat nest gesture]

A rare bird [repeat]

A rattlin’ bird [repeat]

And the bird was in the nest and the nest was on the twig, and the twig was on the branch, and

the branch was on the tree, and the tree was in the bog and the bog’s down in the valley-o

Chorus

And on that bird

There was a feather [stick finger out]

A rare feather [swing arm]

A rattlin’ feather [shake arm down]

And the feather was on the bird and the bird was in the nest and the nest was on the twig, and the

twig was on the branch, and the branch was on the tree, and the tree was in the bog and the bog’s

down in the valley-o

Chorus

 

The informant is a young woman who attended many years of camp, being immersed in American campfire traditions. Thus, this piece was learned from others of her camp. She admits that very few of her friends and family remember this specific song, and when asked to recall it, she had to take many moments to write it out herself to solidify the tune in her mind.

So many characteristics of the piece indicate that it is suited for children: it’s rhythmic, repetitious, and physical, allowing children to learn quickly and engage with others in a performative way.

Alley Murderer

Nationality: American
Age: 21
Occupation: Student
Residence: Los Angeles, CA
Performance Date: 4.19.2014
Primary Language: English

Item:

Informant: “Mhmm the murderer would come back and  jump out and kill the girl if she walked down the alleyway.”

Me: “Wait didn’t the murder occur, like, several decades earlier?”

There is an alleyway that school kids, including the informant, passed by every day coming home from school. The alley was a very convenient shortcut to get home. However, it was told among the kids that years before, a girl walked down the alley and was then murdered. The murderer got away. Now, only boys walk down the alleyway, and all the girls avoid it. They say that if a girl walks down the alleyway, the murderer will jump out and kill her too. So, instead of taking the shortcut, girls would walk about an extra 5 minutes around the large block and meet up on the other side.

 

Context:

The informant recalls this being an occurrence common in early middle school. The murder apparently took place several decades beforehand and the criminal got away. The boys didn’t pay much attention to the story because it was assumed that only girls would be targeted. He said that as they got older, it was talked about less, but the girls still avoided the alley.

 

Analysis:

The concept of a specific place, especially a route, being associated with death or murder is really interesting in this context. Kids at any point in elementary through middle school are beginning to deal with the realities of both death and violent crime. By creating a story (or perhaps propagating a fact) around the alley, they’ve drawn a connection between murder and a specific location and scenario: the alley, a girl, an un-captured murderer. To a certain extent, it’s an example of boys and girls segregating at the early stages of puberty. Perhaps it’s a rare opportunity to have just the boys talking in one place and the girls talking in another for 5 minutes after a day of school. Even more so, it’s almost an empowering way for kids to deal with death. By the girls avoiding the alley, they are effectively cheating what they associate with being killed. And for the boys, it’s almost a courageous act because they are confident they won’t be the victims, so they take the convenient route. It’s also worth noting that for something that happens on a daily basis, 5 minutes extra on a walk is sort of inconvenient. The story was obviously taken seriously enough to convince girls they should take the long way home.

Kicking the Flagpoles

Nationality: American
Age: 21
Occupation: Student
Residence: Los Angeles, CA
Performance Date: 4.19.2014
Primary Language: English

Item:

“Oh my family would kill me if I didn’t kick it. I know when I was younger and obviously just distracted, I’d forget, and they’d make me go back and kick it.”

At USC, it’s a tradition to kick the base of a specific set of flagpoles as you move from the tailgating portion of a football game day to the Coliseum. As told by the informant, a member of the Trojan Knights, there’s a history to the tradition. When the flagpoles were installed and large crowds moved past them, the sound of feet accidentally hitting them was very distinct. Because they are placed right in front of the most logical exit toward the Coliseum, this repetitive sound became so commonplace that the crowd began intentionally doing it. Now, it serves as a necessity for true Trojan fans to kick the flagpoles. Not doing so brings bad luck for the team that day.

 

Context:

The informant began following this tradition when he was 6 years old. He learned it from his grandfather, who attended USC about 60 years ago. He says that it’s very important to it’s family — if he neglected to kick it, they would give him flak for it. If the team lost after that, he would be considered partially at fault by his family. As a Trojan Knight, this is especially important to him.

 

Analysis:

It’s interesting to see where people think traditions start, especially in cases where the reason it started is relatively arbitrary but the tradition itself has gathered so much meaning over several decades. The idea of flagpole placement leading to people bumping into it and making a distinct sound against the metal turning into a long-standing tradition that determines the success of a team is, arguably a bit ridiculous. But perhaps it develops from confirmation bias — if the team wins and you kicked the flagpole, then people like to make the association. But if the team loses, there are a lot of other factors than the hypothetical flagpole correlation to blame. So, people lean toward associating success with the action they took to wish for it. Whether or not the origin story is true or not, it’s fascinating to think about what will happen as the geography changes. What if the school moves the flagpoles in a construction project? Or if the road is closed and an alternate route has to be taken? The degree of the tradition’s importance is hard to gauge when it is so physically convenient to participate — you almost HAVE to walk past it. That’s why it developed. So what happens when the convenience isn’t present?

Childhood Gesture Curse

Nationality: American
Age: 25
Occupation: Artist
Residence: Echo Park, CA
Performance Date: 4.28.14
Primary Language: English

Item:

“Hahah in retrospect it sounds ridiculous — yelling ‘Whammy whammy whammy’ while wiggling our fingers. But man we took it so seriously, you didn’t just do that shit light-heartedly, that was a big deal.”

When the informant was in 2nd grade, there was a gesture children at school could perform to curse another person. It involved placing one hand over the other with palms down, interlocking the fingers, extending the arms to point at the “target”, and saying “Whammy” three times in a row. It would supposedly give that person terrible luck. It was only performed in serious cases of disliking someone, not to be taken lightly. There was no way to break the curse.

 

Context:

This friend of mine said he learned the gesture from his older brother, who claimed it was something passed down for many years. The curse was taken most seriously by his own friend group but not ignored by others. The nature of the “bad luck” or the curse isn’t clear, but the implications were severe. They wouldn’t do it to eachother but to people outside of their friend group. They performed it for only about a year before they stopped doing it. He claims they simply outgrew the concept of it.

 

Analysis:

“Cursing” or “hexing” other kids on the playground definitely seems like a widespread thing, especially around the age of 2nd graders. In part it seems to be a way to cope non-violently with someone you dislike, but also has a lot of tones of exclusivity associated with it. In this particular case it was performed primarily by one group (my friend and his group) but recognized by people outside of the group. Around that age, a lot more aggression crops up and kids get in fights, form exclusive groups, and deal with new confrontational issues. With schools and parents obviously trying to diminish this resulting in physical altercations or anything beyond children disagreeing with eachother, it seems fitting that kids would find indirectly harmful ways to affect someone, e.g. casting a curse that gives a target bad luck. Then, the things that happen to the person aren’t the fault of the curse-caster, but rather the curse itself.