Category Archives: Musical

Danza del Venado (the deer dance)

–Informant Info–

Nationality: Mexcian

Age: 31

Occupation: Lawyer

Residence: Los Angeles, California

Date of Performance/Collection: 2022

Primary Language: English

Other Language(s): Spanish

(Notes-The informant will be referred to DA as and the interviewer as K)

Background info: DA was born in Mexico and moved to the United States when he was 15. He would go back to Mexico to visit family, and while there saw the deer dance performed by various members of his community. While telling me about the dance, he would occasionally perform small parts of it.

K: So what’s the dance called, and what’s the context of the performance? Like when or under, uh what circumstances was it performed.

DA: Its called Danza del Venado, or the deer dance in English. There’s a few different reasons why it would be performed. After Catholicism mixed with Mexico, it was performed around Lent or Easter. When my people still hunted, it was performed before hunting to ensure success, or as a welcome to spring.

K: Ok, so whenever you’re uh…ready to tell me about it go ahead

DA: I already mentioned when it’s performed but I forget to say that it’s now, along with the easter practices, a means to communicate with the spirit world, in which deers’ spirit resides. The dance is simple; it consists of a few men who are dressed in a cloth wrapped around them like a skirt, held up with a belt made of deer hooves. He has more hooves tied to his ankles and holds dried uh…calabaza (gourds) filled with beans or rice to make large rattling sounds. They would also have deer skulls attached to their heads with red uh…Cintas (ribbon) tied around the horns. All of this is meant to sort of thank the deer and celebrate how hard it fought and ran not to be hunted. All the noise from the hooves and calabaza is like it running and us chasing, while the cinta is meant to represent flowers actually, like rebirth and growth from spring. The entire dance is a thank you to earth.

Interpretation:
This was the first folklore I had collected specifically on a dance and it was so interesting to read about. The change in the dance from how it originally was, it being dedicated to the hunt and directly to spring, to the version it became after Catholicism was introduced, with the dance now being dedicated to easter, was so interesting to hear. DA also showed me a video he had taken of his family performing the dance, so I got to see it actually be performed. It’s a beautiful dance full of color and culture. What DA did not mention is how much audience participation there is. In the video I was shown, the entire audience was chanting and singing along with the dancers, and young children were even at the front of the room dancing alongside them. People in the audience were also dressed in ribbons and a few even have a hoove or two with them.

North Dakotan German-Russian Childhood Folk Song – “Oh Playmate”

Transcribed Lyrics Sung by Informant

Oh playmate, come out and play with me

And bring your dollies three

Climb up my apple tree

Chuck down my rain barrel

Slide down my cellar door

And we’ll be jolly friends

Forever more

Say, Say, oh playmate

I cannot play with you

My dolly’s got the flu

Boo-hoo-hoo-hoo-hoo-hoo

Ain’t got no rain barrel

Ain’t got no cellar door

But we’ll be jolly friends

Forever more, more, more, more, more

Context

Informant recalls that she learned this song from fellow classmates at recess during her elementary school years in North Dakota. She would sing this song with friends and classmates, and also alone, “if I were doing chores or whatever” she mused. “I don’t really know to interpret the song…it’s just a little jingle about friendship I guess…I think the melody’s the more important part of it.”

My Analysis

I agree with the informant that the melody is very strong and catchy, and probably the reason why the song’s remained a part of the German-Russian North Dakotan folklore. It reminds me a lot of songs I would sing on the playground as a kid, which I think speaks to the universality of childhood songs, even if the melodies and lyrical content are different across cultures.

Childhood Jump Rope Song –

Text

“Cinderella dressed in yellow, went upstairs to kiss a fellow, made a mistake, and kissed a snake, how many doctors will it take? One, two, three, four, five, six, seven, eight…”

Context

This is a song one sings while jump-roping. According to my informant, you’re supposed to keep counting for as many jumps as the participant is able to go for before getting caught up in the rope or stopping. My informant heard of this particular jump rope song from her neighbor at a young age, and would sing it both with her as well as with other friends at school. She says it’s just a silly rhyming song, and that she’s unsure of how to analyze it any further. My informant says she remembers other jump rope songs she chanted as a child, but this is the only one she can remember in full due to its relative brevity.

My Analysis

When I heard my informant start talking about this particular jump-roping song, I immediately remembered also learning it in my childhood. However interesting enough, I only learned the song as a stand-alone song, and didn’t realize that it was associated with jump roping. Since the number “eight” rhymes with the previous lines of “take” and “snake,” I thought the counting was just a part of the song itself. But upon learning that my informant used it as a jump-roping song, the song itself immediately made a lot more sense.

Thanksgiving Song – “I Heard Mr Turkey Say”

Song Lyrics Transcribed from Informant

I heard Mr. Turkey say

gobble, gobble, gobble

Soon will be Thanksgiving day

gobble, gobble, gobble

People say it is such fun

But I know that I must run

and hide until the day is done

gobble, gobble, gobble

Context

My informant learned this song from her mother at an early age, and would sing it in November around Thanksgiving. When asked how she interpreted the song she said she that it was about a “Mr. Turkey” trying to escape the fate of many turkeys on Thanksgiving. She remarked that compared to Christmas and even Halloween, there weren’t a lot of Thanksgiving songs, but even though she learned the song from her German-Russian mother in North Dakota, she wasn’t certain that the song was necessarily invented by German-Russians.

My Analysis

I find this song to be really catchy, and I think it’s fun that it’s Thanksgiving-themed as that’s not necessarily a super-popular subject matter for musical composers. Overall, it’s a fun song about a Turkey trying to hide during Thanksgiving, and features a fun onamonapia with the repeated “gobble, gobble, gobble.” I agree with my informant that the song maybe wasn’t entirely invented in North Dakota, but I was unable to find a source of where or how the song was made.

Song Sung by Informant

Jazz Slang – Band Leader Terminology

Main Piece:

CS (mid-twenties, white male, music degree background, LA resident) and I had a conversation about musicians.

Me: “So can you like explain that phrase, ‘take it to the top?'”

CS: “Take it to the top means to go back to the beginning of the song.”

Me: “That’s it?”

CS: “Well, like, there’s also usually a hand motion too.”

He mimes spinning his hand in a circle in the air.

CS: “When we used to play at bars in New York, I’d have to swing my hand around all wild and scream it out just to get people to hear me. It’s usually energetic like that, ya know? Like when you want to keep the jam [song] going, you take it back to the top.”

Background/Context:

Phrases like this seem to be universal to musicians and are passed on homogeneously by other musicians and music teachers. The emphasis of this saying is returning to the “top,” which references the top of a music sheet where the notes would begin. The only real time that this phrase would appear would be during a live performance or amidst a practice with a band that plays the sort of songs that don’t have a clear run time.

Thoughts:

Jazz definitely serves itself to folk expression because of the collaborative nature of the music. Call outs like this connect the band into a collective consciousness that allows them to move as a uniform organism. The call out to loop the song also greatly relies on reading the audience for when the energy in the room wants the song to continue, versus wanting it to end.