Category Archives: Musical

Anti-Lullaby to Children

Nationality: American
Age: 52
Occupation: CEO
Residence: Los Angeles
Performance Date: March 24, 2019
Primary Language: English

“Nobody likes me, everybody hates me, guess I’ll eat some worms. Short fat skinny ones, itty-bitty little ones, guess I’ll eat some worms.”

Context: The song was originally preformed by the mother of the collector when her child said that she was having difficulties making friends with children during elementary school. The collection is taken from a later date when asked to recite the song.

Informant Analysis Below:

The informant had grown up switching many schools, about 11, during her time from elementary through high school. She noted that because of moving around so much she often had difficulty making strong friendships. This song seemed to encapsulate the self-pity she once had as a child, and how she learned to become less emotional about such things.

Informant: “I honestly don’t remember when I first heard it, but I know it was definitely while I was still a child. It’s possible my mom also sang that to me too.”

Collector: “Do you have any idea of what it means?”

Informant: “I think it is saying, like, who cares if you feel unliked. Be stronger than that. The whole eating worms thing, to me, is saying that if you are gonna whine about not having friends, might as well eat worms while you are at it because the world does not care.”

Collector Analysis: Lullabies in themselves are supposed to be calming and reassuring to a child. This lullaby is rather odd because it does no such task. It seems to point out any amount of self-pity one may have for themselves and make light of it. In doing so, it can be seen as “tough love” and harsh in many ways. The concept of not being liked is a very common fear, not just for children, but for adults too. Perhaps when told to a child it not only is meant to teach children to “toughen up”, but also remind the adult to do the same. I believe this piece also has a lot to do with the drives in American culture of being self-sufficient. Starting at a young age, it would make sense to instill a sense of individualism by not caring what others think onto a child.

No Music Party Chant

Nationality: US
Age: 22
Occupation: Student
Residence: Los Angeles
Performance Date: 4/16/19
Primary Language: English

Main Piece:

 Informant: It’s simple. It’s just like, if the music cuts out at a party, or if like, the speaker blows and there’s a long stretch of silence someone will stand up and start a “No Music” chant. It’s like, one person will clap three times and then the rest of the party will reply “No Music!” in rythm back. God. And that’ll keep going until someone has the music back on again.

Background:  The informant is a senior here at USC. He is my next door neighbor and we conducted this interview in person at his apartment. He is from Manhattan Beach and has lived there for his entire life. He is a social individual and has attended many parties throughout high school and college. He attended a large high school in Manhattan Beach.

Context: The informant learned of this chant/song when he experienced it first hand. Typically, this kind of chant is typical amongst high school “party” culture. The informant clearly didn’t have high praise for this piece of American high school party folklore. He had no idea when this chant came about, but was certain it had been along for much longer than he had been around.

Analysis: I specifically asked the informant whether or not he had experienced this chant in his own life. I was interested because in own hometown, whenever a situation like this would occur at a social gathering we would break out in a similar style chant. However, In my experience, the chant involved much more rhythm and was significantly more intricate. Another contrast is that I look back on this chant fondly, in comparison to the informant. This could potentially be because my school was much smaller in size and emphasized an arts-based education. This chant is folklore because it contains multiplicity and variation (Dundes) and is an example of artistic communication performed in small groups (Ben-Amos). While the informant’s chant is more simplistic, that could be due to the large nature of his high school. On the other hand, the chant I experienced could be a function of my high school emphasizing artistic performance, making my community more willing to indulge the dramatic nature of the chant.

Theatre Rite of Passage: Pre-Show Game

Nationality: American
Age: 20
Occupation: College student
Residence: Los Angeles
Performance Date: 04/20/2019
Primary Language: English

Context: The informant, a 20-year-old female college student, was describing rituals, related to both her family and her passion for theatre, that she believes help define different facets of her identity. The following is an excerpt from our conversation, in which she describes a pre-show ritual that she witnessed several USC MFA Acting students take part in during a production.

Text:

Informant: So, last year, the first show that I worked on at USC was doing the spotlight for the MFA repertory. Um… and so I was doing the spotlight for a show called A Bright Room Called Day and it was for the third year MFAs, so they’re in their last year. And it was incredible to sit up in the light booth and watch this really tight ensemble just like completely vibe with each other and fall into place so effortlessly. And I got to see so much from the outside-in that was very inspiring, and it was so cool to observe the rituals they had formed through three years of spending so much time together, creating and growing. And so, they did this thing where, before the show, they would all gather in a circle um… and for a while I couldn’t tell what they were saying, but I ultimately figured out that they were saying this chant where on of them would say, “Get in your body!” And then everyone else would say, “Get in your body!” Um… but then it got really like intense and loud and it was hard to even like keep track of whose voice was saying what. And, basically, this whole eruption of sound would turn into passing the word “bah” across the circle, so you would just throw your hands up in someone’s face — the face of the person standing next to you — and say, “Bah!” And then it would… you know… it was just like lightning! It would just shock through each person. Usually it would go around the circle, but sometimes someone would stop and turn it the other way and people would get in these matches where they would yell “bah” back and forth at each other. And everyone in the circle was so invigorated and clearly so dedicated to committing to each other. So, that was a really amazing ritual to observe.

Informant’s relationship to the item: Though the informant did not personally take part in the pre-show ritual that she observed, she was clearly affected by witnessing other USC students participate in such a high-energy, impassioned, and invigorating display of connectedness. She describes feeling inspired by the game as an outside observer, as well as how the pre-show game seemed to energize each player and provide the entire group with a sense of cohesiveness. While she only watched the game from afar, being able to witness the passion of the production’s actors also seems to have filled the show’s crew with energy and excitement. It also seems to have made the informant feel more connected to the entire process.

Interpretation: The folk chant and game in which the actors participated appears to be some sort of pre-show ritual that the entire ensemble used in order to connect with one another and energize themselves before a show. Such rituals are common in the theatre, as well as other occupations in which people do not have total control over their actions or the ultimate outcome of their craft. There is a psychological element to these kinds of rituals, which some people believe to be magic, because they allow the participants to feel as if they have some level of mastery over the universe. The informant’s account is also interesting because it serves as an example of the distinction between active and passive bearers of folklore. The informant — who only witnessed and did not participate in the game — can be considered a passive bearer of the other actors’ folk game. The actors who participated in the game and, thus, performed that piece of folklore are considered active bearers of the pre-show ritual. However, if the informant decided to teach the game to others, she could become an active bearer of the ritual, as well.

May Pole

Nationality: American
Age: 55
Occupation: Teacher
Residence: Austin, Texas
Performance Date: 03/15/19
Primary Language: English

Content:
Informant – “In early May, the Waldorf school hosts a May Pole celebration. In the central courtyard of the lower grades, the faculty erects a tall wooden pole crowned with a bouquet of flowers. Dangling from the top of the pole are long ribbons. Everyone is invited. Grades 1-3 dance and sing songs with their German and Spanish teachers. Then grades 4-6 dance around the maypole with the ribbons. Each grade has a specific dance, but all the dances are spiral. They interweave the ribbons, going in and out. 7th grade plays the music. Each dance has a very specific song.”

Context:
Informant – “The May Pole is a symbolic of the Earth reawakening. The dancing is circular, spiral, going in and coming out. It’s the rhythm of how the world works, an awakening and a sleeping, an awakening and a sleeping. As the outer world becomes more opulent, we see the green, smell the flowers, and inner world becomes sleepier. It’s a very joyful, very OUTWARD celebration. We are recognizing the earth crowned with flowers, the scent, the glory. It’s very very visual.”
The informant learned about this festival when she started teaching at the Austin Waldorf School. She knew about the May Pole before, but not the specifics.

Analysis:
Each grade has a specific role to fill in the celebration. It’s highly regulated. This adds to the community-centric atmosphere of the festival. Everyone has a role to fill. The spiral dancing reminds me of a flower unfurling, going from within to without. It’s interesting that such a joyous, gregarious celebration is so strictly controlled. There is no room for improvisation.

Colombian Kids Folk Song

Nationality: Colombian
Age: 58
Occupation: Insurance
Residence: San Diego
Performance Date: 03/20/19
Primary Language: Spanish
Language: English

Folk Song:

“El Marinero que se fue a la mar y mar y mar a ver qué podía ver y ver y ver y lo único que pudo ver y ver y ver fue el fondo de la mar y mar y mar” which translates to, “The mariner who went to the sea and sea and sea to see what he could see and see and see and the only thing he could see and see and see was the bottom of the sea and sea and sea.”

Context:

“So you know how kids learn patty cake patty cake and all that, that’s just one of those things that you learn as a kid. It’s almost like a tongue twister. It’s just a thing kids learn as something to do and play and occupy their time. A lot of girls do with clapping of the hands and circles and things like that. You are suppose to start slow and speed up as you go along.”

Background:

The informant is from Medellin, Colombia, but now resides in San Diego. He is 58.

My Analysis:

Colombia has coastlines on the Caribbean and the Pacific Ocean, so the rhyme being about the mariner could be significant of the seafaring culture in these regions in Colombia. However, based on my informant’s understanding, this is a predominately linguistic training exercise. Spanish pronunciation of “r” requires the rolling of the tongue, which is a skill that requires practice at a young age to achieve properly. This rhyme has a lot of “r’s” in it to help kids acquire this skill. The progressive speeding up of the rhyme enables players to practice making the noise faster. Clapping helps children with coordination.

To see this done in practice, see this Youtube video: Solis, Maru. “Marinero Que Se Fue a La Mar…” YouTube, YouTube, 29 Sept. 2015, www.youtube.com/watch?v=iXpsCJqf6n0&feature=youtu.be.