Tag Archives: dance

Soul Train Line

Nationality: American
Age: 47
Occupation: Spanish teacher
Residence: Memphis, TN
Performance Date: April 25, 2015
Primary Language: English

The tradition: “At wedding receptions, the guests form 2 lines facing each other, men on one side and women on the other. The 2 at the front of the line dance down the aisle together and go to their sides when they reach the end. Then the next 2 dance all the way down and so on. It’s comes from the 70s and 80s dance show, Soul Train. It’s called the Soul Train Line.”

The informant (my mom) is a black American woman who grew up in Tennessee. Soul Train aired in 1971, and was the first all-black show on national television when it moved from Chicago to Los Angeles. So my mom (and dad) basically grew up watching Soul Train almost everyday after school, learning the dances and watching the various R&B performers through the 70s and 80s, when they were children and teens. The Soul Train line became famous from the TV show, and now it’s a popular practice at African-American weddings; it’s almost a staple. My mom says it happens at basically every black wedding she goes to, in addition to “lots of line dancing: wobble, Cupid Shuffle, 2 stomps…” in her words. Improvisation and line dancing are huge parts of black folk dance in America. The Soul Train line combines both, and emulates the practices done on the show itself. People go down the line in pairs, improvising and feeding off of one another. Every move is choreographed in the moment, feeding off the energy of the crowd. I think the emergence of Soul Train in the 70s was very important for young black children in America, to see their community represented onscreen. It made them excited, and want to imitate the dance practices they saw on TV. That generation (my mom’s generation) is the generation that mostly practices, or starts, these Soul Train lines. I was at my cousin’s wedding last summer, who is in her thirties, and it was the older adults who began chanting to start a Soul Train line. They’re fun and energetic, and a good way to interact with people you may not even know well through dance.

SWEET CAROLINE

Nationality: Chinese-American
Age: 22
Occupation: Student
Residence: USC, from Oregon
Performance Date: 4/18/15
Primary Language: English
Language: Chinese

ABOUT THE INFORMANT:

My informant is a senior graduating this semester from USC. He is a biomedical engineer, and is the oldest son of two immigrants from China.

EXAMPLE:

Interviewee: Whenever we have parties or go to parties it is basically a requirement that we sing the Neil, what’s his name?, song – “Sweet Caroline.”

Interviewer: Neil Diamond?

Interviewee: Yeah, I think. So we have to sing that song. But it’s not just a song, it’s like everyone sings it in a circle. And then like after the “Sweet Caroline” part in the chorus, we all have to say “Ba, ba, ba” and throw are fists in the air. It matches like the horns.

And then for the “good times never felt so good,” we all yell “So good, so good, so good,” with the same fist bumping.

Interviewer: Is that it?

Interviewee: Well that’s like the basics. But then for those in the know when he says “reaching out,” you gotta reach out to the rest of the group. “Touching me,” you put your hand on you. “Touching you,” touch someone else next to you.

And then if you really know it, the “warm touching warm” part you rub your hands together like they are cold.

BACKGROUND

“This started because, at least I think it started because of him, but one of our friends is from Boston. And he is like really into Boston. And he’s a Red Sox fan. And I guess the Red Sox fans do this during baseball games at Fenway Park. It’s like their anthem. So he gets really into it during the singing. But really it’s become just like a big group thing. Singing it with everyone. It pretty much will just stop the party.”

ANALYSIS:

This song/dance has is an example of folklore traveling from location to location, event to event. What started as Neil Diamond writing a song for Caroline Kennedy has somehow gotten turned into a theme song for the Red Sox, which has then been used as a party song at USC. Probably for the person that came from Boston, who is “really into Boston,” used it as a way to show the people at USC his culture, but now the song has a whole USC culture to it. Especially at the point where it is practically guaranteed for any parties that this group of people throw or go to. It has now turned into a form of identity for this friend group at USC. Which is funny because it is derived from a form of identity for Red Sox fans and Bostonians.

“Sweet Caroline” can be heard in the film Fever Pitch about an obsessed Red Sox fan, and this is an article in The Boston Globe all about how this writer hates the tradition to sing it at the games.

 

Skanking

Nationality: American
Age: 22
Occupation: International English Teacher
Residence: Bethesda, District of Columbia
Performance Date: 4/5/2014
Primary Language: English
Language: Korean

About the Interviewed: Spencer is a former student of the George Washington University, now graduated and teaching English overseas. He describes his ethnic background as “Potpourri”, with his family having a mixture of Scottish-Polish origins with some Irish thrown in the mix. His family has lived in North America for generations, so he prefers to identify ethnically as just that. He is 22 years of age.

When I was a student at the George Washington University, my friend Spencer got really into Ska music.

Spencer: “Ska is a genre of music best described as a combo of Jamaican Reggae and [Western] rock music.” Spencer tells me. “It involves a combination of electric guitar and jazz instruments. It’s pretty uptempo.”

Spencer then tells me about a type of dancing unique to a “Ska” performance.

Spencer: “When you listen to Ska, you’ve gotta Skank. That’s just how you do it. When you Skank you’ve gotta just move to the music. You’ve gotta move to the beat.”

Spencer then gets up and gives me a small demonstration. He performs a sort-of hopping motion accompanied by a fist pump. He hops and jerks to the rhythm of a song I’m playing  on my ipod. As the music grows more uptempo, he begins to hop in a running-man pose. It’s important to note that his Skanking embodies a sort of lock-step movement. It’s a quick transition, and then a freeze; almost like a kind of rhythmic freeze-tag.

I ask him if he’s seen Skanking performed in other ways.

Spencer: “Yeah, people just go crazy. Ska is really loud so people just sort of let themselves go. Sometimes people shake around, they kick and stuff. I’ve seen crazy-ass stuff go down. I’ve seen people get hurt – they Skank so hard.”

Summary:

Skanking is a form of dance closely associated with Ska music. It is accomapnied most often by Ska music, and it consists of bopping and/or running in place to the beat of a song.

Like Ska music itself, Skanking embodies something wild and free. Not unlike “moshing”, Skanking allows an audience to participate in the culture of the music they are receiving. Essentially, they’re taking the positive energy they receive from the music, and sending it right back to the performers in an epic loop of positive feedback.

Regrettably, by his request, I was unable to record Spencer’s Skanking demo, but I’ve found some videos that seems to capture the spirit of the dance pretty well.

 

The Real Tarantella

Nationality: American
Age: 20
Occupation: student
Residence: Los Angeles, CA
Performance Date: 2014-04-01
Primary Language: English

“So many people do the Tarantella WRONG at their weddings. The way Italians do it, and everyone knows the Italians do it best because Italians know how to throw a good party, is by putting the bride and groom in the center of the dance floor while everyone holds hands and makes circles around them that get larger and larger. Usually it’s the couple’s parents that make up the first circle. The wedding party makes up the second. Then the rest of the guests make up the rest. The first circle spins clockwise, the second counterclockwise, the third clockwise, and so on. Eventually, the dj or mc will tell everyone to switch directions, and the circles will start spinning in the opposite directions they were originally. They’re so much fun. And if you somehow don’t get in on it when the Tarantella starts, you’re hosed, there’s not getting in because it all just becomes this amazing mess of people that you just can’t get through.”

The informant has never attended a non-Italian wedding, as her entire extended family is Italian. Because her family is so large, she is constantly attending weddings, so she has become quite familiar with many typical Italian wedding traditions. For her, the Tarantella is celebratory and “builds community,” as everyone is holding hands, joining to rejoice in the couple’s newfound happiness. The informant has many happy memories dancing the Tarantella from the time she was an infant. She claims they are just as fun now as they have ever been.

Dancing at Chalma

Nationality: Mexican
Age: 74
Occupation: Professor
Residence: Mexico City, Mexico
Performance Date: March 15, 2014
Primary Language: Spanish
Language: English

My informant is my 74 year old grandmother, who is a language professor born and raised in Mexico City, and currently living and working there. She first used this proverb or saying with me when talking about something that can’t be fixed at all, “ni yendo bailar a Chalma” or “not even going to dance at Chalma”. Here’s her explanation when I asked her what Chalma is:
“Es un pueblito donde hay un santuario donde la gente va a rezar por milagros. Y allí hay un lugar donde unos señores tocan violincillo y donde la gente baila con flores en la cabeza para que les conceda el milagro. Y el señor de Chalma es un Cristo negro que esta allí bailando.”
“Y donde conociste eso de Chalma?”
“Todo el mundo se lo sabe!”
Translation: “It’s a little village where there’s a sanctuary where people go to pray for miracles. And there there’s a place where some men are playing little violins and where people dance with flowers on their heads so their miracle can come true. And the man of Chalma is a black Jesus that’s there dancing.”
“And where’d you learn this about Chalma?”
“Everyone knows it!”

The significance for my grandmother is relatively little, as she’s only been to Chalma as a tourist, but she knows of many people that have made pilgrimages to cure an ailing relative or themselves. The interesting thing about Chalma is that while it is a place people go to pray for miracles, traditionally, there’s also this often-used saying that dismisses it as an option. You can go pray and dance at Chalma if you want, but some things cannot be fixed not even going to dance at Chalma.