Category Archives: Material

The Feast of the Seven Fishes

The Feast of the Seven Fishes is an Italian American Christmas Eve celebration. J’s family has been celebrating with this feast just for the past few years, and he says it allows them to connect with their culture and ethnic community. In accordance with online descriptions of the grand meal, the “essentially have a dinner party with 7 different fish cooked into the dishes.”

According to Eataly, the tradition was started by Italian immigrants in the U.S. in the early 1900s and while the exact origins/meanings are difficult to trace, “the ancient tradition of eating fish on Christmas Eve dates from the Roman Catholic custom of abstinence from meat and dairy products on the eve of certain holidays, including Christmas. The number seven is rooted back in ancient times and it can be connected to multiple Catholic symbols…” Therefore, like for J’s family, one can presume that both the meals and symbolism present were reminiscent of “home” for early participants in the Feast.

He believes it to be a celebration of abundance and the “being better off” that comes with immigrating to the U.S. as well as a ritualistic acknowledgement by Italian Americans of their cultural history and the sacrifices and hard work of their ancestors.

Venetian Mask

Nationality: Italian/Ethiopian
Primary Language: English
Age: 21
Occupation: Student
Date: 4/19/2024

Text:

“Masks are not just decorative during the Venetian Carnival, but they are deeply embedded in the history of Venice. They resemble masquerade masks but are a representation of social freedom, allowing people from different classes to mingle without prejudice.”

Context:

S.Y.,being part Italian, grew up hearing about the carnival and learning about its significance. He recently saw it himself a few years ago when he went to visit his family on his mom’s side. He recounts the masks being explained as a symbolic prop that represents the transformative power of tradition. 

Analysis:

The tradition of wearing masks reflects an aspect of social disguise and a sense of freedom. It’s intriguing how this practice serves as a temporary bandage to social equality. Allowing those to temporarily turn away from societal barriers when it comes to class and race, especially for my participant as he is mixed. It can also be expressed as a performative aspect of identity.

A Food for Thought

Nationality: Mexican/American
Primary Language: English
Age: 22
Occupation: Student
Date: 4/21/2024

Text: “Mole is not just a dish. To us it’s a culinary ritual in Mexican culture.” 

Context:

E.C. recalls her grandmother’s meticulous process of making mole for family reunions. She said it was made with over 15 ingredients, sometimes including chocolate and various spices. Also adding that its preparation is often reserved for special occasions and is a labor of love to bring to a reunion.

Analysis:

Mole exemplifies the deep connection between food and cultural identity, serving as a tangible link to history and to the complexity of Mexican culinary arts. I also interpret this tradition as a celebration of culinary heritage. It also has the power to strengthen familial bonds and honor their ancestors.

Danza Del Venado

Informant Info:

  • Nationality: Mexican 
  • Residence: Los Angeles
  • Primary language: Spanish

Text:

A.E chose to inform me of an ancient dance from la Mayos, he has known the dance for as long as he can remember in the region of Sonora. It’s the dance that represents the native indigenous Mayos de Navojoa, Sonora. He learned to dance “El Danza Del Venado,” in primary school(elementary). Indigenous Mayos came and taught him, he recalls them speaking their dialect. He competed with other schools and won medals for the dance. A.E heavily emphasized the importance of the dance costume. The costume consists of: a bandana on the head of the person, and above that a real, dried head of a deer. there was another bandana covering the mouth, and a “ropon de manta” covering the body. A belt made of leather that had multiple “pezunas de venado” which in English means the little hooves of the deer. From the big toe, to the ankles up to the calves, there are “tenabaris” that make noise. It is important to note that they dance barefoot. In the dance, they hold “Bullis” that come from a tree and have seeds inside that make noise. This dance is often performed in festivals, one of them being Sabado de Gloria and el Dia de San Juan. The dance is performed by only one person representing “El Venado” and is accompanied by four people playing drums and other instruments while singing the song “El Vendo Baila” in the Mayo dialect. 

Analysis:

After interviewing A.E, I conducted some research to find out more about the origins of this cultural dance. El danza del venado originated in Sonora, Mexico and contains pre-hispanic origins. The Yaqui people started this ritualistic dance, however; since the Mayo people were close neighbors to the Yaqui, they also adopted this dance into their culture. For context, the Mayo Indian people were located in southern Sonora, and northern Sinaloa. The Yaqui Indians were located in southern Sonora as well. This deer dance is performed as a way of honoring the deer that is being hunted for the purpose of feeding the folk group. It is a way of paying tribute to the sacrifice being made, which is the deer. This dance form is a deeply cultural and historical form of ritual and festival entertainment. While in modern times it is used predominantly as a source of entertainment, historically El Danza del Venado was used as a form of respecting nature, especially after taking something(such as hunting a deer).

Folklorico Dance

Informant Info:

  • Nationality: Mexican
  • Residence: Los Angeles
  • Primary language: English/ Spanish

Text:

E.H has been dancing folklorico since she was six years old. She is a Mexican American college student who has found an important aspect of her identity through folklorico. She has been a part of GFUSC(Grupo Folklorico at USC) since freshman year. She has found that it has been a way of embracing her Purépecha heritage and culture. Her passion for folklorico has led her to learn more about the history of folklorico, the different dance forms that pertain to folklorico, and the way dancers have to dress. E.H now teaches folklorico to elementary students, while also educating them in different regions. E.H and Grupo Folklorico at USC practice different dances for several weeks in order to prepare for the grand performance towards the end of the semester. Throughout the semester, they also hold small performances at different events and festivals to show their appreciation for their culture. E.H is a dance instructor, and she makes sure to teach steps that pertain the specific region in order to maintain as much cultural originality as possible. E.H told me that not anyone can just go ahead and teach Folklorico, one must be educated on the history of the dance form and the different styles of dance it entails.

Analysis:

I hold a personal connection with folklorico, I also dance folklorico with GFUSC. I originally joined for the purpose of embracing my Mexican heritage and learning to dance such a beautiful art form. Through this club, I was able to learn different regions and their distinct styles of dance. Some of these include Sinaloa, Veracruz, Yucatan, Jalisco, etc. Each region has different steps and “vestuario,” or clothing. For example, Sinaloa holds more of the traditional folklorico elements in the dresses, they are very colorful and flowy dresses. Meanwhile, Yucatan has a more box-like structure in the dress, they are not flowy, and are typically a satin white with embroidered flowers. The songs are also picked out depending on the region they pertain to. Performing with other Hispanic and Latino students has allowed me and many others to find a home and community here at USC.