Category Archives: Material

Dancer’s Folk Usage of a Tennis Ball

Nationality: American

Age: 21

Occupation: College Student

Residence: California, USA

Performance Date: 04/18/2021

Primary Language: English

Language: n/a

Context:

Informant AT was a current undergraduate student at The University of Southern California pursuing their BFA in Dance at the time of this collection. As an aspiring dancer and college student, AT takes dance classes almost daily and rehearses regularly. With all of the physical demands that dance requires, AT often finds themself with aching and sore muscles. To combat this, AT has adopted a popular folk use of a commercial object that they learned from other dancers.

Text:

Stepping on the tennis by and moving your foot around.

Slowly and slightly moving your body while laying or sitting on the tennis ball.

Firmly pushing/pressing the tennis ball against your body while grasping it with your hand.

Analysis:

According to AT, this folk usage of a tennis ball allows him to “roll out” his sore muscles which helps them feel less achy. In hearing AT describe this, I started to realize how this folk usage can reflect and distinguish the identity of dancers. Tennis balls are not designed and sold to alleviate muscle soreness. The action of using tennis balls in this folk way, allows dancers to distinguish themselves as such. While dancers frequently experience muscle soreness and fatigue, they don’t always have the time or the funds to get the attention/care from massage therapists. The tennis ball has come to meet the needs of dancers while being an affordable alternative that dancers can use on other own time. Since dancers have busy schedules that require them to move from studio to studio or studio to the stage, it is important that dancers be able to fit all of their belongings in a portable bag. The small size of the tennis ball is convenient for dancers since it can easily fit in just about any bag.

Æbleskivers (Danish Pancakes)

Nationality: American

Age: 21

Occupation: College Student

Residence: California, USA

Performance Date: 05/02/2021

Primary Language: English

Context:

Informant JA was a current undergraduate student at the University of Southern California at the time of this collection. Though JA was born in the San Francisco Bay Area, their mom’s maternal side of the family originates from Denmark. When speaking with JA, they mentioned that only one particular Danish food item seemed to have any familial importance growing up. Even though JA admits that their family simplifies the traditional Danish recipe, they said that the importance of this folk food tradition lies in the special pans that are used to cook it.

Text:

“Æbleskivers are like Danish pancakes.” JA described Æbleskivers as “pancake balls” and added that their family’s version is the same as regular pancakes compositionally—just in a different shape. They disclosed that their family’s batter recipe only involved generic pancake mix and water. To attain the ball shape of Æbleskivers, JA uses a pan with seven half-sphere indentations over a stove, and that pan is one from their late great-grandparents who have passed the pan down. Each indentation is buttered, filled with batter, and eventually flipped over once bubbles become visible after cooking for some time. A special fork with a handle resembling a banana is used to flip these pancake balls until they are spherical and golden brown. Upon serving, JA’s family only ever has strawberry jam and powdered sugar to dip the Æbleskivers in. JA learned from their maternal grandmother to dip the Æbleskiver in the jam first to coat it with stickiness and then the sugar to follow so it does not fall off.

Since his grandmother’s passing, JA makes Æbleskivers and said that they remind them of her and their childhood meals together. JA also mentioned that Æbleskivers often accompany special meals like birthday breakfasts or other celebratory breakfasts. The tradition of making Æbleskivers extends beyond the family, JA says. They have shown their friends how to make Æbleskivers and have had many others taste them.

Analysis:

After speaking with JA, they described how their family particularly cherishes breakfast since their family values quality time and beginning each day with one another. In the process of making this modern adaptation/variation of a Danish folk foodway, not only does it allow for the family to showcase their shared familial value of quality time, but it also demonstrates a reverence for their family’s history. Historically, foodways have allowed folk to distinguish and partake in their national identity. This contemporized foodway functions in that same way even though commercially bought goods are incorporated into its recipe. In utilizing pans that are passed down generationally, JA’s family is able to succeed in their efforts of maintaining familial values and remembering facets of their cultural identity

Annotation:

Æbleskivers are mentioned in another entry in the USC Digital Folklore archive. See here:

Egoian, Sonya, and Sonya Egoian. “University of Southern California.” USC Digital Folklore Archives, 14 May 2013, uscfolklorearc.wpenginepowered.com/danish-birthday-song/.

Cornetto

Nationality: Italian

Age: 63

Occupation: Businessman

Residence: Bologna

Performance Date: 03/28/2021

Primary Language: Italian

Language: French, Spanish

Main piece:

VS: What is this?

P.S.: This is a cornetto, a horn, which was gifted to me by my wife when we started dating, so something like 30 years ago. hmm. I actually have two, because once I thought I lost it and my wife bought a new one for me. I have always carried it with me, in my pocket. Every place I go, everything I do, this object is with me. Always. I take it out of the pocket just when I am at home.

VS: You said you lost it once, what did you feel when this happened?

P.S: I don’t know exactly. I guess I was sorry. Not like desperate, but yeah sorry.

VS: What does this object represents for you then?

P.S.: Mhh, I don’t know. It’s difficult to explain. It’s something like a lucky charm, a sort of protection that helped me through the years especially in my job.

V.S: How so? do you think the good things that happened derived from this object?

P.S.: I cannot tell if what happened to me was because of this object. What i know is that since I have carried this object with me, everything in my work-life turned from negative to positive, everything got in its place. One thing, then the other, then again another one. Every single thing fell into place.

[stops talking for a bit, in a moment of reflection].

Yes. It is not lucky in the sense that I buy scratch cards and I win. No, it’s something in a greater sense. It has to be seen from a wider perspective. It is almost like it helped carrying out the process smoothly.

Background:

My informant is my father who was born in Belgium from Italian immigrants and who spent the majority of his lifetime in Italy. His wife is Italian as well, and this is relevant considering that this particular object was gifted to him by her. When asked about this piece, my informant put much emphasis on the fact that the cornetto was given; indeed, in the Italian tradition, for the horn to be lucky and prosperous, it never has to be acquired ‘in first person’, but it always has to be necessarily gifted, otherwise it won’t work, or worst, it could even bring bad luck. Furthermore, in Italy it’s quite common for people to carry with themselves a cornetto, either in the form of jewelry or, like in this case, in the form of talisman.

Context:

I have seen my father, my informant, carrying this object with him since I have memory. So I decided to delve more into what the object really meant for him, and this is when this conversation happened.

Thoughts:

I have always been extremely fascinated by this object, whose origin mainly derive from the Southern regions of Italy, but that with time was diffused in all parts of the country. It is interesting to notice that the South of Italy has always been considered more connected with superstition, magic and beliefs, than other areas, and this was for much time accompanied by a sort of prejudice Northern Italians would have towards inhabitants of the South. As a matter of fact, especially in more Modern and recent times, the South of Italy has been subjected to sorts of discriminations also because of the high levels of superstitions and popular beliefs present in the area, as they were associated to illiteracy, ignorance and obsolete traditions. I stressed the word “modern” times because I believe it to be highly indicative and relevant for this analysis. In fact, Northern Italy was the first area to be industrialized at the end of the 19th century, making it more advanced and ‘educated’; consequently, the South remained more attached to the past and the un-littered culture. An interesting observation now arises: while many nations used folklore and past traditions as an incentive and a symbol for nationalistic spirits and will of independence, Italy didn’t. The reason probably lies in the fact that, despite its small size and its unification in 1861, since the fall of the Western Roman Empire, Italy had never been a untied country. On the contrary, throughout centuries, it had been governed by many different powers, which controlled different parts of the nation and influenced them with different traditions and lifestyles.

Beside the political-geographical value, the horn is said to be an amulet against the Evil Eye and it is said to have really ancient roots, it being the emblematic representation of the phallus of Priapus, the Greco-Roman divinity of prosperity. In order to be ‘effective’, it necessarily has to be red, which is the color of blood and life. In this way, also a connection with the female counterpart is established, the color red representing the woman’s fertility and sensuality.

The union of these two elements -shape and color- provides the object with a mystical value related to homeopathic magic: because of the law “like produces like”, the horn not only exemplifies the perfect emblem of prosperity and fertility, but it is also meant to attract prosperity and fertility upon the one who carries it.

Potato to cure burns

Nationality: Italian

Age: 89

Occupation: --

Residence: Bologna

Performance Date: 04/07/2021

Primary Language: Italian

Main piece:

L.S.: I don’t know if I’ve ever told you this , but if you have some kind of burn you have to cut a potato and place one half on the injury and….with that the burning sensation goes away and you do not feel the pain anymore. My mother taught me this, and I myself taught it to my friends.

V.S.: Do you know what could be the origin of this practice?

L.S.: No I don’t. I don’t even know where my mother learnt this from. But I am pretty sure it’s something quite ancient. Also, my mother, after applying the potato on the burn used to draw on it with her hands the sign of the cross and recite a sort of prayer. And I remember saying to her “Mum teach me it, so that when I get burned or when my children will get burned, I will know how to do this myself”. And she used to tell me ”No, I cannot tell you it. There is only one day in which I can tell you this….this prayer is taught only one day a year”.

Once she finally told me it, but I do not remember it anymore [laughs].

Background:

My informant was born in the Tosco-Emilian Apennines (Italy) in 1931. While she spent the majority of her childhood there, she moved to Bologna, Italy, when she was about 13, and she has been living there ever since. She told me of practicing this folk-medical remedy still nowadays and she told me of having taught it to her children as well.

Context:

The informant recounted me this while having a tea in her living room.

Thoughts:

Countless are those practices that could be vernacularly defined in Italy as rimedio della nonna, grandmother’s remedy, which match the border genre of folk-medicine and, to a certain degree, folk-magic.

As my informant points out, these are, in the majority of cases, procedures and costumes which are passed on from generation to generation, and which are difficulty attributable to a single and unique creator. In this way, they perfectly reflect folklore’s definition, them becoming part of what could be described as common knowledge, and distancing themselves from scientific knowledge, which is often characterized by the singularity concerting an individual genius -either of a research group or of a single scientist.

The reason why this particular folk-medical practice can also be seen as overlapping with contagious magic is due to the fact that, as the informant recounts, the usage of a potato in order to cure a burn was often associated with a prayer and ‘religious touch’(cross sign), involving some sort of spiritual power acting on the wound. This tells a lot about the identity Italians used to share, particularly in the past, which saw a quite strong attachment to religion, and, especially, Catholicism. Furthermore, the emphasis my informant put on the secrecy of the prayer’s words, makes another aspect emerge, which is the one of generational division and shamanic authority adults were invested with in those sorts of small rituals.

This practice is still, nowadays, performed, but, as many of the other grandmother’s remedies, is slowly losing adherence and utilization, leaving more space to ‘proved’ science.

Szekely Kapu (Szekely Gates)

Nationality: Romanian; Hungarian

Age: 47

Residence: Oxford, Connecticut

Performance Date: 04/25/2021

Primary Language: Hungarian

Language: English; French; Romanian

Main Text:

Szekely Kapu (Szekely Gates)

Background on Informant:

My informant is originally from Romania, specifically the Transylvania region that is intermixed with Romanian and Hungarian roots. They came to the United States at 24 and have been here since. They are very knowledgable with the cultural context of Romania and Hungary, having grown up in Szekely tradition (a subgroup of Hungarian people living in Romania). They have graciously shared with me parts of their folklore and heritage.

Context:

They explain:

“Growing up in Szekely tradition, this concept of the Szekely “kapu” gate was a phenomenon we saw everywhere.

It’s symbolism is as a kind of barrier between the family home and the outside world. Usually these gates are wooden and have important carvings that are meant to either be religious or represent something that the maker found important enough to etch in.

It’s a connection to the ancestral past, and what’s interesting to note about them is that because in the old days it was so common, you can observe differences from these type of gates in West versus where I grew up in the East.

But they are unique and an important connection to heritage, I know my parents looked upon it as sacred because it was supposed to be guard our ‘sanctuary’.

My parents and their parents before them were very religious so I remember ours had a giant Isten Hozott carved into it which means ‘God has brought you’.

The gates aren’t really created anymore but the ones left have beautiful legacies of rich culture and of course the folklore reflect in them. The carvings have immortalized the period they were created with paintings, visual imageries like crosses and doves, and of course like I mentioned before words of wisdom or associated with religion. But because of how old most of them are, they are fading from weathering.

People in my hometown take pride in them because it shows off our village identity and it’s our little corner of the world where we get to shine with our cultural traditions.

I think people still sell them, but it’s lost its sacredness and it’s mostly for tourism or decoration. My family still has ours up in front of the house, but it’s been up for so long that you can barely make out the carvings but still it serves as a reminder and protection of the past.”

Analysis/Thoughts:

Before this interview I had never even heard of the concept of the Szekely gate and was astounded at how much I was able to learn from it. From researching, I learned that often times these gates were made for the wealthy and as time went on it became a large part of lower households histories as well. It is fascinating how much pride the people of the Szekelyfold hold towards their cultural and folk identity.

I admire the beautiful carvings and art that are the gates and wish it were still around as much as it was in the past rather than just a relic. I love how much emotional connection the person I interviewed had and overall just the connection the gate has with ancestral past. I love how unique the carvings are and how it can be anything from flowers, to the sun, moon, and angels. It is also funny to note that oftentimes some of the houses are long gone yet the gates remain as reminders of what was. Overall, I learned so much about the beautiful tradition and past of Szekely kapu and hope to see one in the future.

Annotations:

For visual reference:

https://live.staticflickr.com/6077/6095656579_79e62a1bee_b.jpg

For more information:

https://wondersoftransylvania.com/wonder/the-szekler-gates-of-marefalva