Category Archives: Musical

KAAVADI – SOUTH INDIAN FOLK DANCE

Nationality: Indian
Age: 54
Occupation: Senior Programmer Analyst
Residence: Nevada USA
Performance Date: 02/19/2023
Primary Language: English
Language: Tamil

Informant Info

Nationality: Indian

Age: 53

Occupation: Computer Programmer

Residence: Las Vegas, Nevada

Date of Performance/Collection: 2023

Primary Language: English

Other Language(s): Tamil

Relationship: Mother

Referred as AS.  AS was born in India and moved to the United States when she was 24. 

Text

Kaavadi Aatam is a traditional dance-drama performed in Tamil Nadu and other parts of South India, particularly during religious festivals. The performance is typically associated with Hindu temple festivals and involves a procession of people carrying a large, decorative structure called a kaavadi.  The kaavadi is usually made of bamboo and is decorated with brightly colored cloth, flowers, and other decorations. Participants in the performance carry the kaavadi on their shoulders and dance to the beat of drums and other musical instruments.

Context

While she was in India and during her visits to India to visit family, she saw the  Kaavadi dance performed by various community members. While telling me about the dance, she would occasionally perform small parts of it.

The performance is seen as a way to pay the gods homage and seek their blessings. The dancers and participants in the performance are typically devotees who have pledged to carry the kaavadi as an act of devotion and to fulfill a vow or promise.

Interpretation

The interpretation of Kaavadi Aatam is rooted in its religious and cultural context.  In addition to its religious significance, Kaavadi Aatam is also seen as a cultural expression. The performance is a way for people to express their creativity, energy, and devotion through dance, music, and the elaborate decoration of the kaavadi.

One of the main significances of Kaavadi Aatam is the offering of penance by the devotees. It is believed that by carrying the kavadi, a physical burden, the devotees are offering their penance and devotion to Lord Murugan.  The dance is also a form of self-mortification and a way of seeking purification and atonement for one’s sins.  Another significance of Kaavadi Aatam is seeking blessings and fulfilling vows. Devotees carry the kavadi as a symbol of their devotion and commitment to Lord Murugan, and they believe that by doing so, they will receive his blessings and protection. The dance is also a way of fulfilling vows or promises made to the deity, such as granting a wish or seeking a cure for an illness.  Kaavadi Aatam is also seen as promoting communal devotion and spirit.  The dance is performed in groups, allowing devotees to come together, bond, and strengthen their relationships. 

Ewiha Chant (Zalghouta): Folklore Song/Gesture

Nationality: Lebanese
Age: 18
Occupation: Student
Residence: Los Angeles
Performance Date: 2/14/23
Primary Language: English
Language: Arabic

Text: Ewiha Chant (Zalghouta)

Context: AH’s relationship to this piece stems from his Lebanese culture which allows him to have various experiences as he heard this song/gesture within his childhood and early adult life. His relationship relates to his connection with his aunt as she is the specific woman in his family that is in charge of leading the performance. He typically hears this chant at weddings during the dinner portion of the event or after the ceremony. Within his family, they typically use this song/gesture as a Lebanese tradition as they wish good luck to the newly wed couple. Within the tradition, self-expression is evident as yells, screams, yodeling and ululations are present. AH interprets this tradition as a good luck charm and as a sign of felicitations as his family believes that if this song/gesture is not performed, it is considered bad luck on the newly wed couple.

Analysis: The overall cultural value within this song/gesture is based on the act of ululating (zalghouta) which is practiced all over the Middle East and in some parts of Africa. Given that this act stems from Lebanese tradition, it holds cultural values within women considering this song/gesture is typically done by women given they are the only ones that can perform an ululation which is a high-pitched tongue trill. I see this gesture/song as an overall expression of happiness, joy, and celebration. Considering that I have not experienced this tradition being performed, I believe that this song/gesture during family events is a momentous moment that is filled with positive affirmations as two families conjoin together where luck, love, and unity is emitted within the atmosphere.  

USC marching band secret handshake

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Nationality: American
Age: 18
Occupation: student
Performance Date: 2/16
Primary Language: English

Text:

The folk object is a kind of handshake.

“Before a competition, or before a performance, people would just walk around and do the handshake and say like good luck, have a good run. “


“This is how you do it: Put two thumbs together, spin your fist upright, and then open your hand so it’s like an upside-down high five. And then make it right side up to shake hands. “

“Only people in our band knows how to do it.”

Context:

My informant plays at a marching band at USC. According to her, this handshake had been performed before she joined the marching band. She learned it and then she taught the freshman how to do it.

Analysis:

Handshake is a very common type of folk gesture, especially in the U.S. Special handshakes are signals of shared identity or signals of difference between in-groups and out-groups. Handshakes are connected with unity and commemoration. Although many people may not know each other in my informant’s marching band(because it’s a big band), when they greet each other with a handshake, they would know that they belong to the same place. Also, unity and a sense of belonging are what a marching band needs when it comes to performance because coordination and cooperation are essential to instrumental performance. The sense of belonging is also created by the daily practice, competition, and performance that the members of the marching band participated in, thus the handshake can also be the by-product of this sense of unity. My informant is a folklore carrier. Not only had she taught me about the folk gesture, but she also teaches the freshmen of the marching band.

The Oud

Nationality: Lebanese
Age: 18
Occupation: Student
Residence: Los Angeles
Performance Date: 2/14/2023
Primary Language: English
Language: Arabic

My informant, (18), from Lebanon, describes an instrument as a folk object: “An instrument in Arab/Middle-Eastern culture that was very popular is the Oud. And it’s literally spanned for generations and generations. It resembles a guitar, it has 6 strings but it has three holes. […] If the Oud is ever played, it’s kind of like you’re listening to God. And like you have to respect it, even though it’s incorporated into some songs, the main origin of the Oud is like the king of all instruments because it resembles that celestial body, and it has representations of the moon because of the higher pitch. And it’s mainly played with the older generation; it’s died down over the years. Usually you bring it around like campfires.” I asked the informant how often he is in a group where it is played. “Every summer I’d say 10-20 times. It’s something that people casually bring out to play, but it has such a big meaning to it. It’s very common to experience it even though it has such a high meaning. It also resembles wealth and luxury cause they’re very expensive. It’s typically played in summer, because it’s usually played outdoors: That’s important. It’s usually played outdoors so that the sounds flow out into the world instead of staying inside. It’s tradition to play it in the summer, because summer is when everybody gathers together, especially during holidays, or weddings. Mainly it’s Lebanon, Jordan, Palestine, the Middle East., mainly like West Middle-East.”

“So usually men play the Oud and they play it in gatherings and that’s when everyone has to be quiet, they have to listen, or else its seen as disrespectful because the oud is seen as a symbol of the celestial Arab body.” When I asked about the specifics of the rules of when it is played, my informant said, “Truth is about Middle-Eastern culture is that nothing is that deep. It’s their culture, they do it cause they can, they should be able to do it whenever they want to.” So it would seem that, at least from his point of view, the specific rules are less important than the fact that people should be allowed to enjoy their culture the way that they want to.

The informant seemed to be self aware of the patriarchal implications of men being the ones expected to play this instrument connected to the divine, and that the whole group is expected to listen when a man is playing the instrument. It’s interesting that the instrument can be so casual yet so important at the same time, and I think that this suggests that the culture has integrated the more traditional beliefs to more contemporary contexts. As the informant mentioned, the instrument is used in a lot of songs, but still retains its underlying cultural significance.

Ooh Ah Up the Rah

Nationality: Irish
Age: 22
Occupation: Student
Residence: Los Angeles
Performance Date: November 24, 2021
Primary Language: English

Background: “Celtic Symphony” is a song performed by the Irish band, The Wolfe Tones. The song is sung at gatherings of Irish people. The line “Oh Ah up the Ra” is emphasized and belted out. The phrase is a declaration of support for the Irish Republican Army (IRA).

Context: I witnessed my Irish friend’s family perform this song while at his house for Thanksgiving last fall. While singing songs after dinner, this song came on and all of his Irish family members sang it together, most of them quite drunk. My friend explained that it was one of the songs Irish people always sing together. “Oh Ah up the Ra” is basically a “big ‘eff you’ to the British,” he told me.

Main Piece:

Here we go again,
We’re on the road again,
We’re on the road again,
We’re on our way to Paradise,
We love the jungilty,
That’s where the lion sleeps, (yeeeaaaaahhhh)
For in those evil eyes,
They have no place in Paradise.

graffiti on the walls just as the sun was going down,
I seen graffitti on the walls( Of the CELTS, Of the CELTS),
Graffitti on the walls that says we’re Magic, We’re Magic,
Graffiti on the walls…….Graffiti on the walls……..
And it said…………..
Ooh ah up the Ra, say ooh ah up the Ra (x6).

Thoughts:

I felt quite a lot of jealousy while watching and certainly hearing my friend’s family sing this song together. Even the youngest of my friend’s cousins, at ages seven and eight, were singing at the top of their lungs as everyone paraded around the room. It is clearly a song sung with immense patriotism and pride. However, the reference to the IRA must infuse the song with a certain vigor, as nearly all of my friend’s family was still in Ireland during the British occupation and have lost friends and loved ones in the conflict. There is a juxtaposition between the hearty and jubilant performance of this song and the horrors and pain upon which the song is founded. While many nations sing songs in unison out of love for country and shared experience, it seems that the Irish certainly have the most fun doing it and doing it the loudest.