Category Archives: Festival

Danza Del Venado

Informant Info:

  • Nationality: Mexican 
  • Residence: Los Angeles
  • Primary language: Spanish

Text:

A.E chose to inform me of an ancient dance from la Mayos, he has known the dance for as long as he can remember in the region of Sonora. It’s the dance that represents the native indigenous Mayos de Navojoa, Sonora. He learned to dance “El Danza Del Venado,” in primary school(elementary). Indigenous Mayos came and taught him, he recalls them speaking their dialect. He competed with other schools and won medals for the dance. A.E heavily emphasized the importance of the dance costume. The costume consists of: a bandana on the head of the person, and above that a real, dried head of a deer. there was another bandana covering the mouth, and a “ropon de manta” covering the body. A belt made of leather that had multiple “pezunas de venado” which in English means the little hooves of the deer. From the big toe, to the ankles up to the calves, there are “tenabaris” that make noise. It is important to note that they dance barefoot. In the dance, they hold “Bullis” that come from a tree and have seeds inside that make noise. This dance is often performed in festivals, one of them being Sabado de Gloria and el Dia de San Juan. The dance is performed by only one person representing “El Venado” and is accompanied by four people playing drums and other instruments while singing the song “El Vendo Baila” in the Mayo dialect. 

Analysis:

After interviewing A.E, I conducted some research to find out more about the origins of this cultural dance. El danza del venado originated in Sonora, Mexico and contains pre-hispanic origins. The Yaqui people started this ritualistic dance, however; since the Mayo people were close neighbors to the Yaqui, they also adopted this dance into their culture. For context, the Mayo Indian people were located in southern Sonora, and northern Sinaloa. The Yaqui Indians were located in southern Sonora as well. This deer dance is performed as a way of honoring the deer that is being hunted for the purpose of feeding the folk group. It is a way of paying tribute to the sacrifice being made, which is the deer. This dance form is a deeply cultural and historical form of ritual and festival entertainment. While in modern times it is used predominantly as a source of entertainment, historically El Danza del Venado was used as a form of respecting nature, especially after taking something(such as hunting a deer).

Folklorico Dance

Informant Info:

  • Nationality: Mexican
  • Residence: Los Angeles
  • Primary language: English/ Spanish

Text:

E.H has been dancing folklorico since she was six years old. She is a Mexican American college student who has found an important aspect of her identity through folklorico. She has been a part of GFUSC(Grupo Folklorico at USC) since freshman year. She has found that it has been a way of embracing her Purépecha heritage and culture. Her passion for folklorico has led her to learn more about the history of folklorico, the different dance forms that pertain to folklorico, and the way dancers have to dress. E.H now teaches folklorico to elementary students, while also educating them in different regions. E.H and Grupo Folklorico at USC practice different dances for several weeks in order to prepare for the grand performance towards the end of the semester. Throughout the semester, they also hold small performances at different events and festivals to show their appreciation for their culture. E.H is a dance instructor, and she makes sure to teach steps that pertain the specific region in order to maintain as much cultural originality as possible. E.H told me that not anyone can just go ahead and teach Folklorico, one must be educated on the history of the dance form and the different styles of dance it entails.

Analysis:

I hold a personal connection with folklorico, I also dance folklorico with GFUSC. I originally joined for the purpose of embracing my Mexican heritage and learning to dance such a beautiful art form. Through this club, I was able to learn different regions and their distinct styles of dance. Some of these include Sinaloa, Veracruz, Yucatan, Jalisco, etc. Each region has different steps and “vestuario,” or clothing. For example, Sinaloa holds more of the traditional folklorico elements in the dresses, they are very colorful and flowy dresses. Meanwhile, Yucatan has a more box-like structure in the dress, they are not flowy, and are typically a satin white with embroidered flowers. The songs are also picked out depending on the region they pertain to. Performing with other Hispanic and Latino students has allowed me and many others to find a home and community here at USC. 

Pan de Muerto

Context: the informant, A.F., is a 21 year old USC student. Her family is Mexican, when asked about rituals or festivals, she brought up Dia de Los Muertos. Before she explained her family customs, she did give me a small disclaimer, saying that a lot of this feels normal to her, and so she wasn’t sure what would/wouldn’t matter.

Text: The informant explained that when her family celebrates Dia de Los Muertos, they always buys a specific bread, known as “pan de muerto”. She described pan de muerto as a round sweet bread with a cross on top; along with this, she explained that her family also makes the favorite foods of their loved ones who have passed. When asked if she leaves some out for ancestors, she told me that they do that alongside eating it. Her family puts up an altar in their house with photos of loved ones who have passed, decorating it with their favorite foods, candles, and a vibrant flower that her family calls “cempasuchil.” She told me she wasn’t sure what flower it was exactly, but she thought it was a marigold. To offer the bread and food to them, her family places it on the altar.

Analysis: Pan de muerto, or bread of the dead, is a typical part of Dia de los Muertos festivities, as is creating an altar for the living to offer things to their dead loved ones. The act of placing food on the altar for them seems like an idea based in homeopathic sympathetic magic, in that items given to photos of loved ones will also be given to their spirits in the afterlife. As the photo looks like the person, affecting it in some way will also affect the person, even once they’ve passed. The bread itself, to the informant, is essentially just a normal sweet bread, but the intent behind offering it is what matters, rather than anything special about the bread.

Haldi

Informant: SK

Ethnicity: Indian

Primary Language: English, Gujarati

Age: 24

Text: [SK] Indian weddings usually last a few days because of all the different ceremonies that take place. One of these rites is the Haldi ceremony, where family and close friends apply turmeric paste or water to the bride and groom to be. At my sister’s Haldi, we used water guns filled with turmeric water to drench her and her husband.

Context: The Haldi ceremony is a pre-wedding ritual practiced across most traditional Indian weddings. The informant noted that he participated in the Haldi ceremony at his sister’s wedding, as well as some of his cousins’ weddings. He mentioned that the ritual felt lighthearted and fun, but also made him emotional because it signaled the start of the wedding.

Analysis: Haldi ceremonies are rooted in the usage of turmeric, which plays an important role in Indian folk medicine. The plant is medicinally used for its antibacterial and antiseptic properties, but in many South Asian cultures, it is also believed to have the ability to cleanse one spiritually. Weddings are a transitory period, marking the shift from single to married life; purifying the bride and groom by applying turmeric paste or dousing them in turmeric water is a cultural practice intended to prepare them for the transition into this new era. Furthermore, the act of applying turmeric to the bride and groom is often turned into a lighthearted, candid act (as mentioned by the informant, who used water guns) as a preclude to the more serious main wedding ceremony. With only family and close friends being invited to take part in this celebration, the ritual also serves to strengthen familial bonds and other social relationships. 

Ugadi

Informant: RS

Ethnicity: Indian

Primary Language: English, Konkani

Age: 58

Text: [RS] Ugadi is the start of the new year for the Hindu lunar calendar. This year we celebrated on April 9th. There are legends that go along with it…we believe that Ugadi is when Rama came back after his victory over Ravana and became the king of Ayodhya. 

Context: This festival has been celebrated by Hindus, particularly South Indians, for hundreds of years, intertwined with the epic story of the Ramayana (as mentioned by the informant, the belief is that Ugadi marks the triumph of Rama over Ravana). The informant commemorates the festival with his family each year; the tradition has been passed down for generations. The informant also noted that he thinks of Ugadi as the start of spring. 

Analysis: Ugadi is an important cultural celebration that intertwines the agricultural cycle with Hindu mythology. The festival’s role in the agricultural cycle serves as a marker of the beginning of harvest time; following the festival of Holi, Ugadi usually sets the Hindu new year between the months of March and April, heralding the onset of spring. As with many other Hindu holidays, it celebrates the triumph of good over evil, and the new beginnings that follow. With springtime having connotations of growth and renewal, the festival’s date is especially significant to the start of the Hindu new year. Beyond its agricultural significance, Ugadi helps to create a collective cultural identity amongst South Indians, reinforcing a sense of community and a connection to the environment in light of the new season.