Category Archives: Musical

Dutch/Tulip Festivals Supporting Schools in Redlands, California (and Related Rhyme/Song)

Nationality: Dutch American
Age: 85
Occupation: Retired Teacher
Residence: Bay Area, California
Performance Date: April 27th, 2021
Primary Language: English

Informant Context:

Meryl is a descendent of Dutch immigrants who immigrated to America around the 1850s. After living in Michigan, she relocated to Redlands, California, where she attended and later taught at a school supported by the Christian Reformed Churches in the area. The school held annual Dutch/Tulip Festivals as fundraisers. Meryl participated in these festivals as a student. She went on to teach her students the associated songs, skits, etc. while working there.

The interviewer spoke with Meryl over the phone.

Transcript:

MERYL: So I grew up in Redlands—Redlands Christian School, attended um… Christian Reformed Church is where I—was where my parents went, and in Redlands there are two Christian Reformed Churches, one Reformed Church, and one Protestant Reformed Church, which is a little more on the Dutch, th—Dutch side. Uh, the Protestant Church also had a school. And so… Redlands… and I went to the Christian School there, and… all supported Red— of all those churches, the four churches, uh… supported the Redlands Christian School. Still do. And there were many Dutch background people, so they, um… in order to support the school they started having—I don’t know just when it started, but—uh, started having Dutch festivals. And I remember, uh, singing little songs, and… heh… at the, at the Dutch festivals. Um… and then, later I taught ‘em to… to… th—the kids that I was teaching. [rustles pages, reading] Um… many… let’s see… many Dutch background people had Tu—Tulip festivals to raise money for the school. ‘Cause they… [unintelligible] always need money. Um…

INTERVIEWER: What would the songs be about? 

MERYEL: Well, let’s see… Well, first of all they had all the… the chorale—you know, they’re kind of like *chorale*—they’re [unintelligible] you know, half notes. [rustles pages] And uh… other songs. But it… the for Tulip Festival. I taught my kids this one little ditty that… [begins laughing] Heh-heh! It was—let’s see, it was… [begins speaking in rhythm (no melody), puts on an accent (t’s and th’s become d’s)]

“Katrina, my darling,

Come sit by my side 

And I’ll told you some things 

That will open your eyes—eyes [unintelligible]

I love you so much 

[Bette(?)]… w—with the love that I got,

That I want… and I’m going to ask you, “Won’t you be my *frau*?”

Frau is like… um, [unintelligible]. She would sing—the girl would sing: [resumes]

Why [seen(?)] yourself, Charlie 

To speak out like that 

Although it is nice what you say, 

And I love you so much with the love that I got

That I’ll be your frau right away.

Oh, ja! [thought that was(?)] fine, 

Char—Katrina, she told me she’s going to be mine… 

And, you know, that’s the chorus. Yeah, heh—*anyway*… and the kids would sing. I taught that to my… my 4th graders later. Um… anyway… 

INTERVIEWER: Did you teach at the same school?

MERYL: Uh, yeah, I’m getting to that. [laughs] Y—Y—let’s see… [if(?)] I can read it [reading] all—so all these churches, these four churches, supported the Redlands Christian School. Many Dutch background people… uh… had, had decided to have a Tulip Festival to bring in money for the school, ‘cause the schools always need money. And uh… so they, uh, they… the *women* mainly, got together [laughs softly], And um… k—kinda started when, when I was in school there. And it’s been kind of a tradition. And later, um… it was still going on when I taught there. Um… they had um… they had uh, uh… dishes of, *food* dishes, and cookies, and all kinds of stuff that was Dutch, and the kids would dress up, or… in uh, long skirts and wear, uh, Dutch—gif you had Dutch shoes, the wooden shoes…

INTERVIEWER: Clogs?

MERYL: [Me and(?)] my parents, they sent for some Grand Rapids, Michigan, where they have… uh, and Holland, Michigan, where they have more Tulip Festivals and… a lot of tulips in Holland. 

INTERVIEWER: Right, so… that’s what I was going to ask. So this specific one that you’re talking about is just the Redlands one, but I was…

MERYL: [Yes(?)]

INTERVIEWER: I was going to ask you are there other ones? 

MERYL: Oh, [yeah(?)]

INTERVIEWER: Other Tulip Festivals around the US? And it sounds like Holland Michigan, there are…

MERYL: Yeah, yeah… and [El Far(?)] California, they have a—a lot of Dutchman there too. 

INTERVIEWER: And they have similar festivals and everything.

MERYL: Yes. The Christian schools do.

INTERVIEWER: But this one was… 

MERYL: Yeah, they… they kind of support the Dutch background. 

INTERVIEWER: Oh, so—so it’s always attached to a school, it sounds like? It’s less of like… like a… 

MERYL: Yeah, it’s—it’s mainly I th—uh, yeah it kind of supports the schools. Helps to support the schools. Uh… Dutch costumes, [rustles papers] and wooden shoes… the wooden shoes are very uncomfortable.

INTERVIEWER: [laughs]

MERYL: You wear about three pairs of socks inside ‘em just so… so you don’t get blisters. I had some. I don’t know where they went. Heh-heh… 

INTERVIEWER: [joins laughing]

MERYL: *Anyway*… 

Informant Commentary:

Meryl mainly connected these festivals to the religious and educational institutions they supported financially. The generations through which this folk practice is passed are not familial generations or ethnic ones, but rather teacher to student generations. Meryl occupied both of those roles, as a student who later became a teacher. The Dutch/Tulip Festivals are also sites of other folklore such as folk songs and folk food, similarly passed down using highly intentional means, for a specific purpose, in a designated classroom setting.

Analysis:

This tradition is an interesting one, mainly because it employs folklore as a means to fundraise for an institution. This conflicts with the usual role of folklore as a set of artistic practices coming into being and perpetuating outside of institutions. The folklore invoked by these festivals (clogs, traditional dress, songs, etc.) likely came about that way too, but were given a new purpose and a new folk group by these majority Dutch churches and schools.

La Cucaracha – Spanish Folk Song

Nationality: American
Age: 21
Occupation: College Student
Residence: California, USA
Performance Date: 05/02/2021
Primary Language: English

Context:

Informant JA was an undergraduate student at the University of Southern California at the time of this collection. JA was born in the San Francisco Bay Area, but their dad’s side of the family originates from Mexico. When JA was young, their great-grandmother would sing a Spanish folk song while playing a game with JA when they were about three years old. I spoke with JA to see what they could remember about their experience with this song.

Text:

Lyrics:

“La cucaracha, la cucaracha, da-na-na-na-na-na-na” (repeated until game was over)

Accompanying Game:

While JA’s great-grandmother would sing La Cucaracha, she would hold her arms out in a circle with her hands holding each other almost like a basket. JA would run in a circle in front of their great-grandmother, and when she was done repeating the lyrics, she would put her arms down to try and capture JA while they were within her basket-like arm positioning. If she caught them, she would tickle them. If she did not catch them, JA would win the game.

Analysis:

Hearing about JA’s experience with this folk song and its accompanying game allowed me to consider how it might connect with the role Hispanic/Latina (great) grandmothers play when it comes to sharing cultural traditions and information to younger generations. By singing this song, she is providing entertainment for young JA while simultaneously fulfilling the responsibility of transmitting their shared Mexican culture. In pairing this song with a game, JA’s great grandmother, is perhaps teaching JA that they can partake and enjoy a culture that might feel distant from them as a Mexican American growing up in a suburban area. The performance of this folk song in this context captures the the desire to connect singer and listener to one another all while sharing an aspect of Mexican culture.

Chinese High School Military Training

Nationality: Chinese
Performance Date: 04/30/2020
Primary Language: Chinese

Context: All across China students join a mandatory military training for two weeks to a month before officially entering a public high school. The training usually takes place in the school. Students live in their dormitories together, and parents are not allowed to visit. Trainings are conducted by soldiers and head teachers. 30 to 50 students in the same class are trained together to learn basic marching techniques and military formalities. Trainings also include disciplinary housekeeping, for instance, military standards for making the bed are enforced. However, actual combat techniques are not taught.

The interviewer and the informant went to two different high schools in Qingdao, China.

Interviewer: Did you guys sing or chant during the military training?

Informant: Yeah, yeah, that was probably the only fun thing during the two weeks. It was kinda intense though.

Interviewer: Yeah, I’m wondering if it’s the same for your school.

Informant: Did you do the 1234567 one? hahaha that’s the only one I remember. I feel like they’re all the same no matter which school you go to…because the officers are all from the same troop hahaha.

Interviewer: Yeah that’s the one! Can you do it for me? Was it between two groups of students?

Informant: Yeah, yeah, but I think you do it with the officer, it’s like a “imaginary enemy” situation. So the officer yells things at you, the goal is to get you excited, then you guys [the students] yell back at him.

Interviewer: So you yell back at the officer, but you’re actually talking shit to another groups of people that are not there?

Informant: Yep. It’s basically shit talking. It’s called “pull the song” (拉歌，la ge), but it’s actually not a song. ok, here we go.

original script: 

officer: 对面唱得好不好？students: 好!

officer: 再来一个要不要？students: 要！

officer: 让你唱！ students: 你就唱！

officer: 扭扭捏捏！ students: 不像样！

officer: 像什么？ students: 像大姑娘！

officer: 一二！ students: 快快！

officer: 一二三！ students: 快快快！

officer: 一二三四五？ students: 我们等的好辛苦！

officer: 一二三四五六七？ students: 我们等的好着急！

officer: 一二三四五六七八九？ students: 你们到底有没有！

Phonetic (pinyin) script:

officer: dui mian chang de hao bu hao？

students: hao!

officer: zai lai yi ge yao bu yao？

students: yao！

officer: rang ni chang！

students: ni jiu chang！

officer: niu niu nie nie！

students: bu xiang yang！

officer: xiang shen me？

students: xiang da gu niang！

officer: yi er！

students: kuai kuai！

officer: yi er san！

students: kuai kuai kuai！

officer:  yi er san si wu？

students: wo men deng de hao xin ku！

officer: yi er san si wu liu qi？

students: wo men deng de hao zhao ji！

officer: yi er san si wu liu qi ba jiu？

students: ni men dao di you mei you！

Transliteration:

officer: Opposite singing good or not?

students: Good!

officer: Another one yes or no?

students: Yes!

officer: Make you sing!

students: You should sing!

officer: Looking coy!

students: Not like anything!

officer: Look like what?

students: Like a girl!

officer: One Two!

students: Quick Quick!

officer: One Two Three!

students: Quick Quick Quick!

officer: One Two Three Four Five!

students: We are waiting very hard!

officer: One Two Three Four Five Six Seven!

students: We are waiting anxiously!

officer: One Two Three Four Five Six Seven Eight Nine!

students: Do you have it or not!

Translation:

officer: Is our opponent’s singing good?

students: Good!

officer: Do you want another one?

students: Yes!

officer: Make you sing!

students: You should sing!

officer: Coy and sissy!

students: Not like other things!

officer: Like a what?

students: Like a girl!

officer: One Two!

students: Quick Quick!

officer: One Two Three!

students: Quick Quick Quick!

officer: One Two Three Four Five!

students: We are waiting very hard!

officer: One Two Three Four Five Six Seven!

students: We are waiting anxiously!

officer: One Two Three Four Five Six Seven Eight Nine!

students: Do you have it or not!

Analysis: The chant is taught by the training officer to students. It’s performed often during breaks, when officers and students from different classes can mingle with each other. It softens the training atmosphere and boosts morale in a lighter tone. The chant is fairly rhythmic and easy to follow. The fact that it’s chanted between a class and their officer implies that the chant is performed to show aggression, but rather to foster the unity and identity of the class itself. It does not specify who the opponent is, and in fact the identity of the opponent does not matter. The pure existence of an opponent framed in the chant leads to emphasize that the class is an entity and it might face obstacles from the outside environment. 

“Like a what—Like a girl!” This detail shows another element of identity formation in teenage students. The military training happens at the liminal point of when a child is separated from their parents and absorbed into a completely new, pre-adulthood collective. The format of the military training, with the hyper-emphasis on order, obedience, and aggression, reinforces the patriarchal social order. Thus the liminal period of adolescence is enforced with patriarchal social expectations. 

The one being emasculated becomes the weak and the oppressed, and emasculation then becomes an act of aggression.

A La Rorro Niño – Lullaby

Nationality: United States
Age: 20
Occupation: Student
Residence: Orange County, CA
Performance Date: 4/30/20
Primary Language: English
Language: Spanish

Informant: this is a song my mom used to sing me when I was little:

A la rorro Niño, a la rorro ro, duérmete Mi Niño, duérmete mi amor;

a la rorro Niño, a la rorro ro, que viniste al mundo sólo por mi amor.

Esos tus ojitos ya los vas cerrando,

pero estás mirando todos mis delitos.

A la rorro Niño, a la rorro ro, duérmete Mi Niño, duérmete mi amor;

a la rorro Niño, a la rorro ro, que viniste al mundo sólo por mi amor.

Por cuna te ofrezco mi fiel corazón,

pues no lo merezco, te pido perdón.

A la rorro Niño, a la rorro ro, duérmete Mi Niño, duérmete mi amor;

a la rorro Niño, a la rorro ro, que viniste al mundo sólo por mi amor.

Quisiste por nombre llamarte Jesús,

como padre amante tú me diste luz.

A la rorro Niño, a la rorro ro, duérmete Mi Niño, duérmete mi amor;

a la rorro Niño, a la rorro ro, que viniste al mundo sólo por mi amor.

En el crudo invierno Mi Dios y Señor,

que sufres alegre del frío y su rigor.

A la rorro Niño, a la rorro ro, duérmete Mi Niño, duérmete mi amor;

a la rorro Niño, a la rorro ro, que viniste al mundo sólo por mi amor.

La gloria te cantan angélicas voces,

para que te duermas y del sueño goces.

A la rorro Niño, a la rorro ro, duérmete Mi Niño, duérmete mi amor;

a la rorro Niño, a la rorro ro, que viniste al mundo sólo por mi amor.

A la rorro Niño, a la rorro ro, duérmete Mi Niño, duérmete mi amor.

Interviewer: What does it mean?

JH: that’s the thing…I don’t know how to even translate it. But it’s sorta like when you swing a baby to sleep, you know what I mean? It’s one of those things that’s just really hard to translate, so it probably doesn’t have a translation. But generally, it’s talking about religion 

Context:

JH was born in America, and her parents are from Mexico. JH is very fond of this song because her mother used to sing it to her when she was a child. This story was collected over a phone call.

Thoughts:

This song goes to show how religion can be a great source of comfort. Listening to the song, it has such a sweet quality that is, of course, reminiscent of a lullaby; it’s interesting that across cultures, lullabies always have a similar quality, no matter the content. They are always happy and light. I think that this is important because it speaks to the fact that the moods that music elicit are similar no matter who you are or where you are––as people often say, music the universal language.

(To hear the song, please see this link:  https://www.youtube.com/watch?v=12aiZ42gV2Y&t=49s)

The British War Song: It’s a Long Way to Tipperary Song

Nationality: British European
Age: 79
Occupation: Retired
Residence: Sherman Oaks, California
Performance Date: March 20, 2020
Primary Language: English

Piece:

It’s a long way to Tipperary
It’s a long way to go
It’s a long way to Tipperary
To the sweetest girl I know
Goodbye Piccadilly
Farewell Lester Square
It’s a long, long way to Tipperary
By my heart’s right there

Background: My informant learned this song from her husband who was in the British Navy. Typically this song was sung by sailors on the ship as a way of bonding. Later my informant recounted that her husband would sing it to their children while they were brushing their teeth to make sure that they spent long enough on the activity.

Context: My informant and I were discussing childhood experiences and she remembered when she had children she used to sing them songs along with her husband. She then sang those same songs to her grandchildren.

Thoughts: I have heard this song before but I never knew it came from soldiers singing to pass the time. The song appears to be about returning to a loved one that the soldier has missed very much, and since that loved one lives in Tipperary the song, likely, has Irish origins. Tipperary is a county in Ireland and across the British channel from Piccadilly, certainly a ‘long, long way’ to go.