Category Archives: Musical

Carnatic music

Nationality: Pakistani and Indian American
Age: 18
Occupation: student
Residence: Porter Ranch, CA
Performance Date: 04/19/2018
Primary Language: English
Language: Gujarati
  1. The main piece: Carnatic music

“So, Carnatic music is like a type of Indian classical music. I guess we have a lot of classical like music and dance things. It’s probably super ancient too. There’s two types of classical Indian music, Carnatic and Hindustani, I think? So for Carnatic, it’s actually pretty similar to whatever Western music is called. Like you know how you guys have like do-re-mi-fa-so-la-ti-do? Or the middle C based chord thing. So in Carnatic music, the scale goes “sa-re-ga-ma-pa-da-ni-sa.” And you have this thing called a Shruthi box, which plays like “sa-pa-sa” over and over. And that helps you find your pitch and then you sing along with that. And like songs, you first learn them by singing the notes, and then you replace the notes like “sa-ga-re-ma” with lyrics or words like “rara venu” which means come come cowherd.

  1. Background information about the performance from the informant: why do they know or like this piece? Where/who did they learn it from? What does it mean to them? Etc.

“I used to sing along with a lot of Bollywood songs in our car, so my parents signed me up for classical Indian singing lessons. I learned it from this older Indian lady who actually lived in my neighborhood, so for a few years, I would walk over with my Shruthi box and my singing books and I would have to audiotape myself. I hated practicing. But in the end, I kinda miss singing.”

  1. The context of the performance

“I learned classical Indian dance around the same time. Like, I started dance when I was 5 and then singing probably when I was like 8. So I guess it taught me about, like… India? Yeah.”

  1. Finally, your thoughts about the piece

While there are many folk disciplines of dance in the world, there are not many specifically designated folk singing disciplines. The informant was entered into lessons for this folk style of singing after she used to sing more mainstream, authored songs in the car. This shows that the more mainstream songs may have reminded the informant’s parents of their Indian and Pakistani cultural singing tradition, leading them to sign their daughter up for classes to learn the original singing style which the mainstream “folk music” was derived from. This piece also shows the idea that teaching young children the older folk music traditions of the culture allows them to learn and connect more to that culture.

  1. Informant Details

The informant is an 18 year old Indian and Pakistani American female who grew up in the United States, but moved a lot as a child. While she didn’t feel close to her parents, she met her childhood best friends through local Pakistani and Indian cultural lessons such as dance classes and singing lessons, and prizes her memories of those classes.

Kathak

Nationality: Pakistani and Indian American
Age: 18
Occupation: student
Residence: Porter Ranch, CA
Performance Date: 04/18/2018
Primary Language: English
Language: Gujarati
  1. The main piece: Kathak

“Um… Kathak is a classical North Indian dance form. It’s like… thousands of years old or something like that. And it’s pretty much… it has to do w like storytelling and like… kinda like describing the tales of India and Pakistan and stuff. Um, so, there’s a lot about the sounds that your feet make. Like the sounds your toes, or the soles of your feet make. You kind of stomp a lot. Most of it is like one rhythm, but you change the speeds and you change your hands to portray a story. Like going super fast is like building up tension, like the snakes are about to eat you. Slow is like, you know, nicely walking through a field of flowers, so nice and pleasant. Yeah, that’s literally it.”

  1. Background information about the performance from the informant: why do they know or like this piece? Where/who did they learn it from? What does it mean to them? Context of the performance?

“When we finally stopped moving around and settled in Porter Ranch, we didn’t really know anyone. My parents didn’t have any Pakistani or Gujarati friends nearby, and, well, I literally knew nothing about my culture. So they signed me up for kathak classes, which really hurt your feet by the way, and that’s where I met a bunch of my really close family friends and my best friend.”

  1. Finally, your thoughts about the piece

This piece shows the importance that dance has as an artform in folklore. Dance combines the retelling of folk narratives, in this case legends and myths of Hindu gods and Pakistani heroes, with an aesthetically pleasing and dynamic medium of expression. It is different from normal storytelling because it is entirely nonverbal, yet it aims to recapture the emotions and visual aspects of folk narratives, making them more real to all of the community members watching.

  1. Informant Details

The informant is an 18 year old Indian and Pakistani American female who grew up in the United States, but moved a lot as a child. While she didn’t feel close to her parents, she met her childhood best friends through local Pakistani and Indian cultural lessons such as dance classes and singing lessons, and prizes her memories of those classes.

Lithuanian Folk Song

Nationality: Lithuanian
Age: 18
Occupation: Student
Residence: San Francisco, CA
Performance Date: 4/22/18
Primary Language: English
Language: Lithuanian, French

Collection: Lithuanian Folk SongThe informant detailed various songs that most Lithuanians know from their childhood which are not believed to have an author.

Context: Folk music can be interpreted in various ways including rhythm and tone. This folk song’s lyrics are significant for interpreting the context. According to the informant, everyone in the United States’ Lithuanian community seems to know the folk music including this song. This particular song originates from Lithuanian immigrants who sang about their desire to return to their homeland. As a result, the song ties those in the United States to older traditions and to the people back in Lithuania.

 

Lithuanian Festivals

Nationality: Lithuanian
Age: 18
Occupation: Student
Residence: San Francisco, CA
Performance Date: 4/22/18
Primary Language: English
Language: Lithuanian, French

Collection: Lithuanian festivals in Lithuania

A: “In Lithuania, are there any festivals?”

B: “Oh, let me tell you. We have a singing festival and a dancing festival, and these happen um every two years and and then I guess every two years, one of them is in Lithuania and one is somewhere around the world. So this year there is going to be one in Lithuania, whereas last year there was one in Baltimore. They have had them in Japan, China, Australia, Boston, places like that. So basically, it’s a joint festival where folk dancers or folk dancing groups from around the world, that practice — I’m in one in L.A. called Spindulys. Um *giggles* — practice every week and learn all these dances. And they come together and perform these dances; there are like 3,000 dancers all in sync in the national clothing, I guess the folkloric outfit. *laughs* And it’s a three-day event, so there is two day like two hour performances of the dances, and they have a showcase of singing all of the songs, but I’m not in a singing group. And they sing the traditional Lithuanian songs.”

A: “So essentially, it’s two of the same festival in two different places each year? Or one is dancing and one is singing?”

B: “Um… one is dancing and one is singing, but it’s the same festival kind of. I guess it’s just put together, so I guess it’s one festival.”

The informant went on to describe another version of the traditional Lithuanian festival which takes place in California called L.T. Days. The community within the United States created a local Lithuanian gathering which happens once a year. This festival has around 500 people, but the larger festival in Lithuania gets around 15,000 attendees. At L.T. Days, the informant participates in the traditional folk dancing with her group.

Context: According to the informant, the original Lithuanian festivals stemmed from Soviet control over Lithuania; Lithuanians held “small festivals underground… to keep the song and dance of Lithuania alive and to keep the language alive. And they did it behind the backs of the policeman.” Nowadays, the festivals are held to celebrate traditional Lithuanian customs and practices.

Interpretation: The community often plays a major role in festivals as demonstrated by the informant’s discussion. Also, festivals are known to  have symbolic references to protect or preserve community ideals and identity, just as the Lithuanian festivals hold onto song, dance, apparel, and more.

Annotated Bibliography:

“ FROM THE HISTORY OF SONG CELEBRATIONS.” Song Festival 2018.

According to the Lithuanian Song Celebration website, festivals praises “creative self-expression, vitality of the national culture, love for the homeland and solidarity of its people.” Further, festivals are one of the most significant ways to connect distant people both geographically and culturally. The article also references the Soviet period in which Lithuanians celebrated discretely to maintain their culture.

 

SAE Fraternity Memorial Celebration

Nationality: USA
Age: 24, 24, 23, 23, 17, 53
Occupation: Student, Student, Student, Student, Sister, Father
Residence: Nashville TN, Fredericksburg TX, Austin TX,
Performance Date: 4/15/18
Primary Language: English

At the University of the South (informally known as Sewanee) in rural Tennessee, I witnessed and participated in a large informal celebration held in memory of my late brother, with the university his alma mater. The celebration was preceded by a more formal memorial charity golf tournament held earlier in the day. The party detailed below followed not long after at the university’s chapter of Sigma Alpha Epsilon (SAE for short, also my late brother’s fraternity). The fraternity also arranged the golf tournament itself and arranged for a recreational social gathering to follow. The entirety of my late brother’s former fraternity members (known as a pledge class) were present, along with former classmates.

 

Earlier in the evening, a small concert led by popular local musicians was held on the porch, along with barbequed food consisting of brisket, sausage, and potato salad (among others).

 

Following the departure of the band and caterers, the approach of the crowd in the building shifted as higher levels of activity (and intoxication) became acceptable now that the night had progressed, and daylight had passed completely into night.

 

A crowd of around 50 to 75 remaining partygoers congregated completely into a large corner room of the building, an area adjacent to the kitchen where food is typically served for similar events. For such functions, there is a large rectangular table centered in the room bearing the yellow and purple colors of the house along with their coat of arms and titular house letters.

 

With large speakers taking the place of the band and copious amounts of beer taking place of the caterers, the entire crowd then gathered around the center table to the tune of a pre-arranged musical playlist of Harry’s favorite songs, occasionally breaking up any potential melancholy brought about by the playlist with popular dancing songs in order to keep energy levels consistent.

 

In tandem with the music starting, people in pairs or trios came to take turns dancing on the tabletop for a few minutes at a time, usually remaining for the duration of two to three songs before excusing themselves from the center of attention and being helped down, to be quickly followed by another pair or trio hopping up.

 

The entire party lasted until the hours between 12am and 1am, when large activities are legally required to shut down. Given that the gathering in the table-centered area began around 9:30 to 10:00 pm, this particular activity therefore extended for roughly 2 to 2.5 hours in total.

 

Although this congregation of friends and family came about in remembrance of tragic circumstances (ie someone’s untimely death), the resulting proximity of so many at once where they may have otherwise not been brought together in such a way prompts not only a celebration of the life of he who passed, but also a celebration of the many lives that have continued on.

 

Such a situation goes to show how happiness in large groups is capable of wholly overwhelming any notions of sadness, and that such celebrations in the wake of tragedies can be considered appropriate when such an effect is properly achieved and initially intended.