Category Archives: Musical

Boots & Cats in Beat-Boxing

Main Piece:

Informant: “So, a friend of mine told me the way to start beat-boxing is to go “boots and cats” and speed it up, so: “Boots and cats and boots and cats.” But, uh, I can’t do it, but you get the idea.”

Context:

Taken from a voice memo sent in a group chat with two of my classmates in my Forms of Folklore class at USC.

Analysis:

I had heard this piece of folklore before and am always impressed with how surprisingly well it works. It’s perfect for the average passer-by for recreational use, and serves as a really vital gateway for those getting into professional beat-boxing. By simplifying an entire art form into a short saying, it really widens the range of people this folklore can reach. It allows outsiders to be integrated into the ‘inside’ of the industry and helps them be less self-conscious, now that they have an actual strategy. I wish my classmate would have delved into it more; it would surely make for a hilarious transcription. But, go ahead and try it! Mix it up a little, and you’ll see how fun it is!

Frère Jacques

TEXT: Frère Jacques

Frère Jacques

Dormez vous? 

Dormez vous?

Sonnez les matines

Sonnez les matines

Ding ding dong

Ding ding dong

INFORMANT DESCRIPTION: Female, 42, French

CONTEXT: This woman’s mother used to sing this song to her, in her crib, when she was a baby. Then she grew up and sang it to her children. It is a French nursery rhyme used to put children to sleep. She said she sometimes even still sang it to her adult children when they had trouble sleeping. It is very tender to her and a very sweet memory. She hopes to sing it to her grandchildren. 

TRANSLATION: Are you sleeping

Are you sleeping?

Brother John

Brother John?

Morning bells are ringing

Morning bells are ringing

Ding ding dong

Ding ding dong

THOUGHTS: The translation has been adapted to English. Changing a typical French name of Jacques to John. Interestingly so because it seems the point of the French words are their melodic quality and annotation that don’t translate to english. I have definitely heard this song before but did not know the context. 

La Zandunga

TEXT: La Sandunga song lyrics:

Sandunga

Sandunga mamá por Dios

Sandunga no seas ingrata

Mamá de mi corazón

Ay Sandunga, Sandunga mamá por dios

Sandunga no seas ingrata

Mamá de mi corazón

Antenoche fui a tu casa

Tres golpes le di al candado

Tu no sirves para amores

Tienes el sueño pesado

Mi Sandunga, Sandunga mamá por dios

Sandunga no seas ingrata

Mamá de mi corazón

Me ofreciste acompañarme

Desde la iglesia a mi choza

Pero como no llegabas tuve que venirme sola

Ay Sandunga, Sandunga mamá por dios

Sandunga no seas ingrata

Mamá de mi corazón

A orillas del Papaloapan

Me estaba bañando ayer

Pasaste por las orillas y no me quisiste ver

Ay Sandunga, Sandunga mamá por dios

Sandunga no seas ingrata

Mamá de mi corazón

INFORMANT DESCRIPTION: Male, 83, Mexican

CONTEXT: My grandfather played this song for me. I had recognized it from my entire childhood so I asked him to explain it to me. It is a very traditional Mexican folk song specifically from Oaxaca. He explained to me that although the song is very old, from the mid 1800s, it is a symbol of freedom. It appears to be about a woman but is really about the Isthmus of Tehuantepec, in Oaxaca. He said in Oaxaca people sing it all of the time, while working and doing chores, to each other at night, even to lovers. The actual word is zapotec, the native tongue, and means “profound music.” The song is a song from a man to a woman originally but has been molded and shaped to fit many context when speaking about something lost or something freed.

TRANSLATION: Oh! Sandunga, Sandunga by God woman!

Don’t be so ungrateful Sandunga, woman of my heart.

Oh! Sandunga, Sandunga by God woman!

Don’t be so ungrateful Sandunga, woman of my heart.

Last night I went to your house,

I knocked three times by the door knocker,

You’re no good when it comes to love,

You’re deep in sleep.

Oh! Sandunga, Sandunga by God woman!

Don’t be so ungrateful Sandunga, woman of my heart.

You offered to accompany me

From church to my house,

But you never came,

And I had to come back alone.

Oh! Sandunga, Sandunga by God, woman!

Don’t be so ungrateful Sandunga, woman of my heart.

At the edge of the Papaloapan

I was bathing yesterday,

You passed by the edge (of the river),

And you didn’t want to see me.

THOUGHTS: This song is very beautiful by the artist Lila Downs but seems to be just as compelling by any singer due to its heartfelt and emotional qualities. It seems this variation truly encompasses its folklore and makes it very interesting to listen to every time and by different singers.

Link to other variation: https://www.youtube.com/watch?v=CV4Ot_fYRb4

“El Juego del Lobito” (“The Wolf Game”)- Children’s Game

*Originally spoken in Spanish. The following is a rough translation. 

Description (From Transcript): “A bunch of kids, we would make a circle and we would choose one person in the center of the circle and the “wolf” outside the circle. And we would start moving in the circle and singing the song “Jugaremos en el bosque, mientras que el lobo no esta, porque si el lobo aparece a todos nos comerá.” (“We will play in the forest while the wolf isn’t here because if the wolf appears, he’ll eat us all”), and then we would pause and say “Lobo, estas ahi si o no?” (“Wolf, are you there, yes or no?”), “Sí aquí estoy” (“yes, I am here”), and we would ask “what are you doing?”, and the wolf would say, “I’m showering”. Then we would start moving in the circle again, and so on. And when the wolf was done getting dressed, (each time he would say what he was doing) he would say, “I’m gonna eat you all” and we would run! We would all run and whoever he caught had to be the wolf next, until we were done with everyone. I guess just until we were bored”. 

Context: TR is a Mexican woman, born and raised in Zacatecas, Mexico. She immigrated to the United States in 1995. She would play this game in her hometown when she was a child. Her and her neighbors would get together when they were children and they didn’t have much else to play with. They would play a lot of rondas, games such as this one where children would stand in a circle and do some kind of call and response. Some of the games had losers and winners. 

When asked about her children knowing the game now, she responded that her son didn’t know or play the game, and her grandchildren will probably not know it either. However she accepts this reality because times are changing. Her grandmother and mother also played this game. She explains how many generations played rondas infantiles until electric light was introduced to these rural communities, at which point many children just wanted to watch TV. 

My interpretation: This game is heavy on contact, communication, and movement, all characteristics that explain why they were so heavily used in rural Mexican communities, where children didn’t have much else to play with or do. Because these virtues are instilled in children at a young age, the people in these communities remain close as adults and emphasize activities such as play, dance, and music. This game in specific is very telling of how fear is a motivating emotion from a young age. Oftentimes, these communities are low on resources and high on crime, a difficult lesson to learn as an adult. But here, children learn to be attentive, stick together, and outrun danger, all while maintaining youthful qualities like joy, movement, and competition. 

“Zapatito Blanco, Zapatito Azul”- Mexican Children’s Game

Description (From transcript): “It’s like a game I guess “Zapatito Blanco, zapatito azul”. The literal translation is “White shoe, blue shoe” but it’s like the equivalent of “Bubblegum, bubblegum, in a dish” where you put in your feet and you count around the circle. We as kids would use it like before an actual game to see would start or who would be first or who would be ‘it’.  It’s like “Zapatito blanco, zapatito azul, dime cuántos años tienes tu” and whoever it would land on they would say how old they are and that number is how many times you would go around and tap each person’s shoe and whoever it would land on you would take out their foot… And you just kind of keep repeating that until you get to the last person and that’s who’s it. I remember playing it before playing tag and that’s who would be “it”. Or like hide and seek. And sometimes we would play it as a game itself just to play that. And “dime cuántos años tienes tú” is “tell me how old you are” and you would say how old you are but after a while if you’re playing with the same people, it gets repetitive to keep saying your age so you would just say a number like in “bubble gum, bubble gum in a dish, how many pieces do you wish?”, you just pick a random number.”

Context: The informant (LV) is a first generation Mexican American woman residing in Denver, Colorado. Her mom taught her this game. She would play it with all the kids at parties so it was popular. She remembers playing this at school, as well. Mostly kids of any gender play this game. She does not see it as a gendered game. She thinks that children no longer play these types of games (hide and seek or tag). The game is in Spanish and belonged to Latin America. She would be interested in asking her friends from places other than Mexico in Latin America if they’ve ever heard of this. She said that as a kid you don’t really question the origin, but at parties, it is a part of Mexican culture. It takes her back to her childhood, which was very different than kids today. 

My Interpretation: Based on both the informant’s thoughts as well as the annotation listed below, I think that this game is very telling of generational and cultural change. It was originally a kinesthetic reliant form of play that required children to be physically in spatial proximity of each other, a characteristic that is no longer as popular with young children today, most likely because of internet culture and the social distancing that came with the pandemic. Furthermore, Mexican American children were also forced to use their native language each time they played this game, strengthening their connections to their ethnic heritage. Without games in Spanish such as these, Mexican American children are no longer maintaining linguistic and cultural practices that are crucial to their ethnic American identities and the politics that said identities entail. More can be said about the connection between these childhood games and socio-political implications in the further reading attached below. 

For further reading on this game, see: 

Anonymous. “Zapatito Blanco: Acknowledging Old Rules and Agreeing to New Ones.” Unbound, 18 Nov. 2019, justiceunbound.org/zapatito-blanco-acknowledging-old-rules-and-agreeing-to-new-ones/.