Thai pre-wedding custom

Nationality: American, Thai
Age: 26
Occupation: Grad Student
Residence: Los Angeles
Performance Date: 3/17/19
Primary Language: English
Language: Thai

Main Piece:

Informant: Here’s there’s this thing called a Sin Sod. It’s a price that the groom must pay the bride’s family before they can get married. It’s not as bad as it seems. It’s actually kind of sweet! The bride’s family will usually gift it back at the wedding. It’s more of a formality than anything else. Money is a big part of Thai culture, so marrying up a wealth bracket is really uncommon, especially for guys. The Sin Sod is just like…confirmation that the groom is worthy of supporting the bride.

Background: The informant is second generation Thai. His parent’s came to America long before he was born. He is very familiar which Thai culture as he typically travels there at least once every year. The informant does not have any first-hand experience with this tradition. He learned of it through his classmates when spending a semester abroad in Bangkok. This conversation was recorded in person while in Thailand during a USC trip the two of us were on together.

Context: Having seen it first hand, Thai culture is incredibly fixated on the public perception of money and status. The wealth gap is incredibly drastic in Thailand, especially in Bangkok, which is where we were. In addition, it is legally forbidden to speak ill of the royal family in Thailand. Status is trans-generational in the truest sense of the word in Thailand.

Analysis: When I went to Thailand, I had very little knowledge surrounding values of the culture. In experiencing it with no prior knowledge, I came to see Bangkok as one part extravagance and one part destitute. I remember seeing a lavish, 80 story apartment building and then looking at the surround neighborhood and seeing 10 people living where there should be 2. Off of this observation, I was not surprised to learn of this Thai marriage custom. While the idea of paying the bride’s family might seem archaic to our post modern ideas of gender, the informant relayed to me that this custom was less about the bride and more about the groom. The informant stated that this wasn’t a direct transaction but more so the bride’s family symbolically making the sure the groom is financially stable and able to take care of their daughter.

Figure Skating and Stuffed Animals

Nationality: American
Age: 58
Occupation: Photo Agent
Residence: New York
Performance Date: 4/23/19
Primary Language: English

Main piece:

Interviewer: Can you think of any superstitions or rituals you had when you were figure skating?

Informant: Me? No I wasn’t superstitious at all. I remember other girls that would do stuff. Stuffed animals are a big part of skating culture. Some skaters have one singular stuffed animal that they carry everywhere, throughout their entire career. Sometimes when a skater performs really well at some event, fans will throw their animal onto the ice.

Background: The informant is my mother. She started skating at a very young age when she was growing up in Maine. For her, figure skating was an outlet from a rough home life. She learned of the significance of stuffed animals to figure skating through first-hand experience at her local ice rink. This interview was recorded in person when she came to visit me here at school.

Context: The informant remembers the symbolism of the stuffed animal through continued exposure to high-level figure skating, where it is common-place for fans to throw stuffed animals onto the ice after a successful routine is completed. However, the informant stated that the act of continually carrying around the same stuffed animal is hardly mentioned on TV broadcasts. I did some extra research into this and could not find any info regarding the continued possession of a singular stuffed animal. However, the practice of tossing a stuffed animal onto the ice is widely known, even among those not familiar with the sport of figure skating.

Analysis: I assume there is probably good reason for the relatively low notoriety of this piece of figure skating lore. For one, it is exclusive to high-level figure skaters who are performing in a competitive environment. As such, this tradition hasn’t permeated into the mainstream due to the difficult barriers-to-entry within the figure skating community. The informant stated that fellow skaters would treat their own stuffed animals “like they we’re diamond encrusted”. Off of that, I assume that high-level figure skaters are naturally protective of their totems. If the most prominent members of this community are reluctant to speak on this significance of the stuffed animal to the figure skater, it is difficult anyone to learn of this tradition. I was also curious to see if the informant could remember why one skater would pick a certain animal over another. The informant couldn’t remember exactly but thought the decision was based on personality. If you consider Figure Skating to be a form of artistic communication, which is the consensus, than the significance of the animal combined with the act of throwing stuffed animals on the ice in praise takes on a different meaning. The figure skater chooses a specific stuffed animal that aligns with her identity. When they are performing they are conveying their own identity through their art form, which is figure skating. If done successfully, the audience will then affirm the figure skater’s performance and identity by throwing the same stuffed animal onto the ice in an act of approval.

Naval Academy Wedding Tradition

Nationality: US
Age: 22
Occupation: Student
Residence: Annapolis
Performance Date: 4/20/19
Primary Language: English

Main Piece:

Informant: When a newly-married couple is walking out of the chapel for the first time they walk through two columns of Midshipmen holding their sabre’s up high. The lines are made up of members of the wedding party and officers in attendance. It’s four on each side of the two rows. The first two will lower their swords making like a gate. The married has to kiss in order for the each row to raise their swords and let them pass. When the couple gets to the last two Midshipmen with their swords lowered they kiss one more time. When they pass the last two one of the last two will slap the sword against the butt of the civilian spouse and say “Welcome to the Navy!”

 

Background: The informant is my brother. He is a senior at the Naval Academy in Annapolis, Maryland. He first learned of this tradition through first-hand experience at the wedding of one of his closest friends at the academy. This interview was recorded over the phone. I asked the informant if he could recall any specific military traditions he has witnessed through informal mediums.

Context: The sabre is given to Midshipmen when they reach first class rank (the college equivalent of a senior). It is a point of pride amongst first class officers and is treated with the utmost care. The sabre arch is done right after the wedding ceremony finishes as the bride and groom leave the chapel. It is a highly-respected tradition and is always performed with punctuality.

Analysis: For most military members, the job can quickly become your life. Although the informant is a student, I have witnessed his transition into a full-fledged officer within the short span of four years. He holds the values and culture in the highest regard, much like his peers. In his words, “When you join the Navy you are making a lifelong commitment”. Well, some would also consider marriage to be a lifelong commitment. As I have experienced first-hand, the spouses of servicemen and women become an equal part of the military community they married into. As such, the tradition of the sabre arch is symbolic of that relationship. The spouse of the officer is committing to joining the military community around them. In return, through the sabre arch, the military community is grants the spouse acceptance. The cry, “Welcome to the Navy”, is confirmation of that acceptance.

Call a Wambulance

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

Main Piece:

“You better call a Wambulance”

Translation: Don’t complain about pain unless you want to go to the hospital

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.

Context: I asked the informant if he knew of any “Dadisms”. Dadisms are usually puns, combining word play with a common saying to covey a new meaning. The informant learned of the saying through his own father saying it and has said this to me multiple times in casual conversation. The informant stated that he likes to use the phrase as it reminds him of his father. The informant said his father will make this joke in response to someone (usually within the family) complaining about getting a minor physical injury, such as stubbing one’s toe. The joke is meant to mean that the person injured should fight through the pain and not let it bother, per the informant.

Analysis: It seems Dads have their own folklore, as does every other social community. I found this piece intriguing because this is actually stated by my own father as well. My Dad will use the exact phrase in the same situation as the informant’s. I asked my father where he learned this phrase and he said he learned it from his own father. Clearly, these “isms” are trans-generational. Like the informant, I also use this joke in passing. And, like the informant, I also learned of and associate this saying with my father. For the more recent generation, I believe this phrase is repeatedly used as a way to continually tie us to our fathers. For the the older generation, I believe the continued use of this joke serves to solidify their own identity as fathers.

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.