MIYEOK GUK

Nationality: Korean-American
Age: 21
Occupation: Student
Residence: Los Angeles, USA
Performance Date: April 21, 2021
Primary Language: English

MAIN PIECE:

Informant: So in Korea there’s this soup called Miyeok Guk. It is…  Essentially like a seaweed soup. And um… Seaweed has like iron in it, I believe. And in your blood… Your like hemoglobin has iron in it as well? So Korean reasoning is that, whenever a woman gives birth, she loses a lot of blood with that. So to make up for it, you should have food that can supply your body with iron, such as Miyeok Guk and seaweed. So on birthdays, in addition to like cake and just like normal birthday routines, the traditional side of it is eating Miyeok Guk and seaweed… For the iron that your mom lost. 

INFORMANT’S RELATIONSHIP TO THE PIECE: 

Informant: I do practice this. Cause I like Miyeok Guk.

Interviewer: So you’re really consuming it for the taste? 

Informant: Yeah… I mean… I also think that we all have a desire to keep our culture going. I think when we’re younger it was easy to forget about and not care. Like, “Who cares what they’ve done for a thousand years, Imma do me…” My dad was born in Korea but moved to Guam and later Hawaii and later Anaheim. So he’s very Americanized. My mom didn’t leave Korea until college, so she was always the more traditional Korean side of the family… But my dad and I are more Americanized. Um… But yeah, as time has gone on, I feel like it’s good to keep some things, even if it has zero significance or importance… Even if it’s just soup that reminds me of my mom, it’s nice to continue on with those little traditions. 

REFLECTION:

Korean birthday tradition honors the mother by including food that recognizes the hardship of childbirth. The informant, while also consuming Miyeok Guk for taste, has grown to appreciate this food as a symbol of his mother. This is multifaceted, as Miyeok Guk is both a Korean symbol of the mother in general, but also a reminder of the informant’s mother specifically, who passed this tradition onto him. This demonstrates how food can have a “broad” cultural significance, but also a more intimate, immediate, familial significance. Thus, there are several reasons that food traditions might be upheld. This tradition also seems to hint at an appreciation for the mother within Korean culture. 

ITALIAN CHRISTMAS DINNER

Nationality: Italian-American
Age: 21
Occupation: Student
Residence: Los Angeles, CA
Performance Date: April 20, 2021
Primary Language: English

MAIN PIECE: 

Informant: For Christmas, ever since I was a kid, my mom would make, uh… Rigatoni… It was two dishes. One was Rigatoni alla Norma which is like, uh, an eggplant dish. It’s Sicilian and her dad like passed down the recipe. Um… And then she would also cook sausage and peppers? Which is kind of like a stew, almost… I don’t know if it originated anywhere or if it was like Sicilian or Italian at all. It was just something that like, at Christmas we knew we were gonna have that.

INFORMANT’S RELATIONSHIP TO THE PIECE:

Informant: I think it’s nostalgic. Um… I think especially those dishes, I remember my mom talking about the Rigatoni alla Norma, her mom and dad would make that for holidays when she was a kid. She never, like, ate it on her own. It was only when she had kids and a family that she wanted a tradition. My mom’s really big on traditions, like having certain things that we as a family do for the holiday. And food is a big part of that… I think it’s definitely nostalgic. I don’t think it’s just because of the holiday ‘cause my family’s not religious… It’s just like we know that on this day we will all have this meal together. It’s really about togetherness. 

Interviewer: Do you think when you have kids you’ll do the same thing?

Informant: I don’t know if I’ll stick to those dishes. Because, like, even though I’m Italian… I don’t like pasta… Um… But even if I didn’t like the pasta, those meals still have a special place in my heart. Just because my mom would slave in the kitchen all day just so we could all sit down and have time together, and it was always really like… Sweet. And I want that for my family. The appreciation. The coming together gratefully with food on the table. 

REFLECTION:

In Folk Groups and Folklore Genres: an Introduction, Elliott Oring writes, “Eating is one of the earliest interactive behaviors of a newborn, persisting as a situation for intimate human interaction throughout life… [W]e are likely to bring a great fund of emotion to the behavior of eating” (34). There is an emotional quality surrounding food, and eating is a highly social activity. The informant does not enjoy the taste of Rigatoni alla Norma, yet she has an emotional attachment to the dish because it is part of her family tradition. However, she does not plan to make this dish a staple of Christmas dinner with her future family. Instead, her focus will be continuing the tradition of coming together to share a meal. The informant does not seem to feel that the tradition is diminished if the dish changes. To her family, the Christmas dinner tradition is primarily about “coming together gratefully with food on the table.” If her children do not like the dish the informant prepares, perhaps they will change the dish too. And so the tradition would continue to vary, and yet, the heart of it––the togetherness––would remain intact. This demonstrates how traditions can change overtime (adhering to Alan Dundes’ definition of folklore as demonstrating multiplicity and variation), and also that foodways are concerned, not only with specific ingredients, dishes, and food preparation, but with why and how people eat.

ANNOTATION:

Source cited above:

Oring, Elliott. Folk Groups and Folklore Genres: an Introduction. Utah State University Press, 1986. 

BURNING ESPHAND

Nationality: Iranian-American
Age: 21
Occupation: Student
Residence: San Ramon, CA
Performance Date: April 25, 2021
Primary Language: English
Language: Some Farsi

MAIN PIECE:

Informant: So my grandma does this a lot and I actually just asked her for clarification about it, but… A lot of the time when I was younger, and especially now, I’ll like wake up and the house will smell like… Smoke… It smells like burnt popcorn, almost? And it’s not like a great smell. And I always thought, like, “Oh, like, my grandma put something in the toaster-oven for too long.” But it turns out it’s an intentional thing. So what she’s doing is… There’s this thing called Esphand… And it’s almost like… Black sand, it looks like? It almost looks like little seeds. I’m not sure what it actually is. It’s not edible. But… Something that Persians do––particularly Persian mothers or grandmothers––is they will put it, you know, in like a pan on the stove, and they’ll toast it and it burns and it smokes, and it smokes very quickly. And it fills the house with that like burnt popcorn aroma… And they’ll like get a towel or something and sort of wave it through the air so it like fills the house… Um… Yeah, and that smoke is supposed to cleanse the air. Um… And it alleviates any bad luck. It’s not that it gives you good luck, but it just prevents bad things from happening, sort of. And the Esphand is, it’s not like only confined to the home? Uh… It’s also… It can be incorporated into weddings? It’s not really done these days, but something they would do in the past is… They would kind of sprinkle the Esphand on the ground before the bride as she was walking. And as she was walking down the aisle, uh, they would kind of… Actually burn it in front of her as she was walking. So someone was leading, walking in front of her, and she would walk through the smoke… So it was kind of like… Like cleansing her on her way. So she’s entering into this marriage cleansed of bad luck.

INFORMANT’S RELATIONSHIP TO THE PIECE:

Informant: My grandma, she would usually do it if my sister and I weren’t home, ‘cause she knew it––we’d always complain about it… And actually when I was at college, she’d do it, like, she would do it for me, right? Like to… Cleanse my spirit from afar. So that was an interesting kind of practice… And it’s not really about the Esphand… It’s what you do with the Esphand. It’s the ritual…  But it’s not like––it’s not an everyday type of thing. It’s only if she’s like––if she’s nervous, she’ll do it. It’s like to cleanse bad luck. So like, if the family is preparing for something and she, uh, doesn’t like want anything to go wrong… Like at the beginning of the pandemic it was a little bit more common… Like she was doing it more than she ever had before, I think. Or at least, I noticed it more. But like, when I was in high school, I hardly knew it was a thing. Like sometimes I’d just come home and like, “Ugh, someone burned something,” you know? 

REFLECTION:

In Folk Groups and Folklore Genres: An Introduction, Elliott Oring claims there is “difficulty [in] interpreting the meaning of symbolic acts in human behavior” (55). In order to give meaning to the act of burning Esphand, one must first be familiar with its ties to the evil eye. The lighting of Esphand is thought to ward off the evil eye. The evil eye is a contagious form of magic; if someone who has the evil eye engages with you, they may bring on bad luck or “jinx” you (jinxing stems from the concept that if you have a jinn attached to you, you bring on bad luck). For example, if a houseguest who has the evil eye compliments a child on their beauty, a mother or grandmother might burn Esphand to clear the air, concerned that the child has been met with an evil eye (i.e. been jinxed) and is thus at risk of their beauty being ruined. While burning Esphand is unique to Persian culture, the act of trying to reverse bad luck is shared across cultures. Similar actions include throwing salt over a shoulder or knocking on wood. These behaviors (performing an action to remove bad luck) can be referred to as a conversion superstitions. The existence of conversion superstitions suggests that humans have an underlying, psychological preoccupation with controlling luck and fate; if we are apprehensive that something will go wrong, it makes us feel better to perform a ritual or action that is meant to steer things in a more desirable, less unlucky direction. And these rituals or actions only have meaning through their association with reversing bad luck.

ANNOTATIONS:

Source cited above:

Oring, Elliott. Folk Groups and Folklore Genres: an Introduction. Utah State University Press, 1986. 

Further reading(s):

“Esfand & The Evil Eye.” My Persian Kitchen, 2016, www.mypersiankitchen.com/esfand-the-evil-eye/#:~:text=It%20is%20pretty%20safe%20to,curse%20on%20someone%20else’s%20behalf.

Saba Soomekh. “Iranian Jewish Women: Domesticating Religion and Appropriating Zoroastrian Religion in Ritual Life.” Nashim : a Journal of Jewish Women’s Studies & Gender Issues, vol. 18, no. 18, Indiana University Press, 2009, pp. 13–38, doi:10.2979/NAS.2009.-.18.13.

“NĀRANJ O TORANJ” AND A TROLL IN THE WELL

Nationality: Iranian-American
Age: 21
Occupation: Student
Residence: San Ramon, CA
Performance Date: April 25, 2021
Primary Language: English
Language: Some Farsi

MAIN PIECE:

Informant: I am gonna be live remembering this… So what I know is it’s called “Nāranj o Toranj.” And nāranj… Means like… Orange, kind of? I think? I have no idea what toranj means. But maybe that’s a name. Um… But there’s something to do with it… So there’s this prince. And his family is pushing him to find a wife and marry and settle down. Um, of course you know, as with all fairy tales he refuses. And so this is what sets us off on our journey. And so, he keeps refusing these suitors that are being brought to him, or I guess, female suitors, whatever the equivalent of that is…  Potential brides that are brought to him… And, uh, one day he finds refuge in their, uh, family’s great orchard, in the backyard of the castle… And… In doing so he… Stumbles upon an orange tree and sees a beautiful woman, sitting in the tree. And it seems to be known that this woman seems to have been grown from this orange tree. She herself is an orange, um… But she is the most beautiful woman he’s ever seen, and she has this beautiful voice, and… Yada, yada… So they start this kind of cute little affair where um… He will come to the woods and listen to her play music and recite poetry, and he just, he falls so in love with this woman. Uh… And one day a troll… A one-eyed troll… Uh, invades… The castle… And steals the princess… And I’m trying to recall if this is the prince’s fault? ‘Cause he wasn’t doing his duty? Or if the troll was just sort of like an ex machina thing… But the troll comes, steals the princess, and the boy goes on this quest to find her… I believe the boy goes down a well into the troll’s dwelling, which is underground, uh… And he finds where the princess is… And he has to––oh and he takes with him––he makes a plan to get the troll. And he takes with him a little bag that has, uh… A thing of salt in it, and jacks. Like the pieces in the game Jacks… I want to say there was something else… But it’s not coming to me right now. Effectively, he gets close to the troll. He does kind of like a traditional folktale thing where he’ll trick the troll to get close to him. Um… I think there’s a meal and the troll falls asleep ‘cause  the troll is so full. Perhaps that other thing that he brought––oh, I think he brought a chicken. And he––and then the uh… The troll got so full off of the chicken. And so now the troll is knocked out, the princess is there, he grabs her and when he tries to escape, the troll of course wakes up, and starts chasing him. So then he gets the jacks and he throws the jacks on the ground, and the troll starts stepping on them and he’s in pain and he falls over. And once the one-eyed troll falls over, the boy throws salt into the troll’s eye. And the troll’s in so much pain and he’s blinded so he can’t chase them, and he and the orange princess escape out of the well and live happily ever after and then she becomes his, uh, his queen… Uh, that he decides to marry. 

INFORMANT’S RELATIONSHIP TO THE PIECE:

Informant: This story is something that was orally told to me. Until we found like a picture book at like a Barnes and Noble. And this was in like elementary school… And um… OH! Oh no…  I think I actually… I think I kind of conflated––I actually just conflated those two. Two different stories! ‘Cause I think there’s like a “Jack and the Beanstalk”-esque… Persian story, where like a poor farm boy has to go and like…  Best the troll in order to survive, and he has to like… Trick the troll, and so he brings the chicken and the salt and the jacks. Um… And there’s the troll in his well… And then there’s a totally separate story about the orange princess. And I think the problem with the orange princess… Um…  There was something where… The… Prince disrespected a witch…  And…  She effectively cursed that they then couldn’t be together… Um, but eventually they were able to marry.

REFLECTION:

The conflation of two tales to create a new hybrid tale showcases the variable nature of folklore. When stories are passed on through oral tradition, it is likely that they will fluctuate and change, as there is no written guide ensuring the story remains the same each time. This variation may be caused from faulty memory, which is what the informant was experiencing. In misremembering “Nāranj o Toranj,” the informant created a new tale. If he had not caught his mistake, he could have continued to pass on this hybrid story, contributing a new version of “Nāranj o Toranj” to tradition. Alan Dundes says folklore must exhibit multiplicity and variation. Human error is one driving factor behind why folklore may change. 

Circle — A High School Theater Ritual

Nationality: American
Age: 19
Occupation: Student
Residence: Bay Area, California
Performance Date: May 2nd, 2021
Primary Language: English
Language: N/A

Main Piece: 

Before every show we always had this thing called Circle, and the purpose of Circle was to kind of like, get you hyped up and get your nerves out, and kind of keep you from being shy or feeling stage fright by doing silly, silly things, and seeing people do silly things. And the whole tradition of Circle is that you chant, “Oooh, I feel so good like! I knew I would! Oooh I feel so good!” And you would just continually chant that while clapping to a certain beat until someone went into the circle and would be like, “Like [something now]”  and everyone would just mimic them no matter what it was. It could’ve been something that had been done every year before them; that’s like a very simple one, like “Like a chair now!” And you do a squat [laughing] and, y’know, you do a squat and then you continue the chant. Or, you could make one up every single time. I remember [a classmate] once went in the circle and went like “Like a parabola!” and literally did a backwards handstand and bent over backwards. And it was crazy, and people started doing it all the time after that even if he wasn’t at [the high school] anymore at the time. That was a fun one that, like, caught on. 

Background: 

My informant is one of my friends from high school, and was very involved in our school’s theater department. Circle was one of the most consistent rituals prior to every show, no matter if it was opening or closing night, and the chant from the piece was one of the most popular and well known. When I asked my informant what the tradition meant to him, he said it was about “being vulnerable and bonding with other people, especially if it’s your first show and you’re nervous.” Seeing people perform silly antics removed the fear of embarrassment and let everyone come together to prepare for a great performance while also feeling supported by those around you.

Context: 

This came up when my informant and I were trying to remember traditions that happened in our theater department during high school. While I was involved in a few shows, my friend had more experience than I did and was able to remind me of a ritual that the department participated in before every single play or musical show. 

Thoughts: 

In this ritual, we can observe that the purpose is to create an energetic atmosphere where the cast and crew could get excited for the show; in a way, this ritual is meant to bring good luck to them and alleviate tension. We can also observe that there’s an expectation for what to do during the chant, but not only that, there’s a myriad of variations to the chant that have been made up by people from past generations of the theater department. I also liked that my informant gave the example of “Like a parabola now!” because it shows that Circles functions not only as a stress reliever before a show, but an opportunity for a theater kid to leave a legacy behind, as seen by the fact that our past classmate’s variation is still performed even if he no longer goes to the school. Additionally, we see the multiplicity and variation in the different chants that are performed at each Circle, and know that some will die out and be replaced with others depending on how popular the chant becomes.