Tag Archives: Mexican

Quinceañera

Nationality: Mexican, German
Age: 20
Occupation: Studeny
Residence: Quartz Hill, CA
Performance Date: April 20, 2013
Primary Language: English
Language: Spanish

Quinceañeras are celebrations in hispanic cultures when a girl becomes a woman at quince años, or fifteen years old. Marcea had a quinceañera of her own, in which I participated as a dama. She explained the traditions of of the quince and what it meant to her.

 

This tradition has gone back hundreds of years, and is this Hispanic equivalent of a Sweet 16 in American culture.

The participants of a quince have unique names and functions. The girl being celebrated is named the Quinceañera. Her court is a group of damas (girls) and chambelanes (boys). The court is usually made up of fourteen damas and fifteen chambelanes. Altogether there are fifteen couples, symbolizing her age. Marcea’s court had less couples, instead they had six. This is a group of the Quinceañera’s friends and family members, generally under the age of 20. Some members of the court can be very young, not even gone through puberty yet. Marcea said that the demographic for courts skews younger, partly because the Quinceañera’s closest friends and family are usually around her age. She made the parallel to bridesmaids and groomsmen, which are generally the same age as the bride and groom. In a quince, the court symbolizes youthfulness and the process of maturation. They help to present the Quinceañera to the world.

The Quinceañera’s godparents, aunts and uncles are called padriños and padriñas who act as donors and contribute to the celebration. Padrinos and padrinas are also present at Hispanic weddings. The donors are the individuals that will guide the Quinceañera in her adult life. It is not an official declaration of future involvement in the Quinceañera’s life; however, as it is usually the family who guides the girl, it is usually the family who act as padrino and padrina. Since hispanic families tend to be large, this can cover a large price of the celebration. Sometimes there is just one, sometimes there is a couple for every aspect of the celebration. Typically, a couple will sponsor one aspect of the quince. For example, one aunt and uncle will pay for the limousine, another for the cake, so on and so forth. There is a special dance for these couples during the celebration. Marcea herself didn’t have any padrinos or padrinas for her quince. She appreciates the advice her family gives her throughout her life, but there was no formal representation of this in her celebration.

There are traditionally two parts to each quince- a church ceremony which lasts about an hour and a party which can last of hours afterwards. As a large portion of the Hispanic population is involved with the Catholic Church, the religious ceremony is a large part of most quinces. Marcea did not have a church ceremony as part of her quince, because she hadn’t had her communion yet, so the priest would not bless her. However, Marcea was able to describe the process to me. Usually, parents, godparents and the court are part of the church ceremony. They give the Quinceañera her gifts- rosaries, a tiara and a bouquet that is left on the alter of the Virgin Mary to pay tribute. It is a time of thanksgiving for life and womanhood.

Usually court arrives to the party in a limousine, often sponsored by a padrino and padrina. There is generally a large room with a dance floor and a dj, giving the guests plenty of opportunity to dance, which Marcea says her family loves to do, as well as providing space for the traditional dances that will take place. In addition there is a slideshow featuring the Quinceañera playing in the background.

During the party, one of the traditions is the changing of the shoe. Marcea described this as “ a pretty popular tradition that people usually keep,” emphasizing its importance within the celebration. At the beginning of the night, the Quinceañera wears flats. Her dad changes her shoes from flats to heels, symbolizing her development from a little girl into a woman. Marcea prepared beforehand and marked with a marker the hole that her dad had to use to fasten the shoe, revealing the weight of the moment and her desire for nothing to go wrong. Afterwards, the father and daughter dance together. At this time, her father is supposed to recognize her as a mature woman. Marcea identified this time as one of the most emotional for the men of the family.

Then the father hands his daughter to her chambelane, a sign of his respect for her maturity. The dance proceeds, with the Quinceañera and her court. Marcea isn’t aware of any symbolism in the courts dances, besides entertainment and fun. Courts tend to take dance lessons for a year to a year and a half before the quince. Marcea and her court took dance lessons for about four months beforehand. There is a formal dance, which was the waltz for Marcea’s quince, and the baile sorpresa, which included cumbia, hip hop and the hustle. The songs we danced to were by Rihanna, Selena and Chris Brown. Usually the baile sorpresa is salsa or cumbia; however, Marcea’s quince had a mixture of diverse dances.

Although Marcea didn’t participate in this tradition, at some quinces the Quinceañera is given the responsibilities of a woman within the celebration itself. She is responsible for speeches, cake cutting and even service. While watching videos online to brainstorm for dress ideas, Marcea saw girls serving their padrinos.

The dress is usually white, symbolizing purity at the coming of age. Recently girls have been wearing pastel colored dresses. They are usually large ballgowns. There are never trains on these dresses, because the style is reserved for weddings.

 

 

The whole event is centered around the Quinceañera. It symbolizes the transition from a girl to a woman, with all the responsibilities it entails. There are many aspects of the event which I was not able to include, as it is a vast celebration. The tradition is documented in the award-winning film Quinceañera, which juxtaposes the purity and extravagance of the celebration with pregnancy, poverty and the trials of everyday life.

http://www.imdb.com/title/tt0451176/

“Tamales on Christmas Eve”

Nationality: American
Age: 7
Occupation: None
Residence: Redondo Beach, CA
Performance Date: April 2013
Primary Language: English
Language: Spanish

            At a tender seven years of age, the informant shared a family tradition of eating tamales on Christmas Eve, which, according to her account, is a shared tradition among most Mexican families. Her mother’s side of the family is Mexican and has practiced the tradition through generations. Indeed, the informant described an annual large family gathering with such an excess of tamales that it feels like “forever” until the leftovers are finished.

            For the informant, it seems the tamales on Christmas Eve is a fun way to spend her vacation―she talks about how delicious the food is, her presents the next day, and the fact that school is on recess.

 

            Every night, uh, I mean before every Christmas night, we go to Nana’s. Actually, we used to go to Nana’s, but then she passed away. But we would go, and lots of people were there and we would make yummy tamales during the night and take them home!

            I don’t make the tamales, I just eat them. I’m not old enough; they don’t let me touch the things in the kitchen yet. Usually it’s just the girls, but sometimes my dad helps, too, and the other people. I don’t know all of them, just some, but there are lots. I didn’t know my family was so big.

            My mama said she did it with Nana when she was a girl, too, and that lots of Mexican families do it. I just know that we make so many tamales, like, so many tamales. Well, there’s rice and beans, too, but even when we bring them home we just keep eating the tamales the next day, and the next day, and the next day. . .it feels like forever. It’s still my favorite dinner though! We eat the tamales, and then the next day we get presents. Plus, there’s no school.

 

            Although some of the finer details may be absent from the informant’s narrative, in sifting through her account we can find some more thematic values embedded in the tradition. Family is clearly an important element in the Mexican Christmas Eve tradition. For one, the women gather together in the kitchen, presumably to “catch up” and bond through the cooking process. The informant mentions how so many family members gather together that she doesn’t even recognize them all. In that vein, her Nana’s recent passing seems to have made a significant impact on her family’s practice of the tradition. The informant did not provide information about where her family would make tamales in the future, but it is quite evident that the familiar setting of her grandmother’s home, a symbol of the stable matriarchy, is no longer accessible to her, further showing how integral family is to this tradition.

            Additionally, the theme of bountiful celebration is quite clear. The family makes so many tamales that guests must take them home, and even then the informant herself must eat tamales for days after Christmas Eve. While the rest of the year she and her family may practice moderation, tamales on Christmas Eve is clearly a happy abandonment of that principle.

The Church on the Hill

Nationality: Mexican-Chinese
Age: 37
Occupation: Student TA
Residence: Los Angeles, CA
Performance Date: April 19th, 2013
Primary Language: English
Language: Spanish

The following are the informant’s exact words:

“This is a story that my grandmother tells. It’s a pretty popular story, umm… that involves that… Juan Diego, a young man’s name… a peasant and a Mexican. And when she tells it, it is that he is walking one day, uhh… and the Virgen di Guadalupe appeared to him and said, “I’d like you to build me a church, here.” It was a particular hill I believe. And uhh… and he was like, “Well okay, I guess”. And ummm…  then he goes to, I believe, the power that be, the kinda Catholic Church, the bishop. And he says, “Okay well we need to build this church because the Virgen di Guadalupe appeared to me and said she wants a church.” And, uhhh, the bishop, because of, you know,  the lowly statues of this peasant, Juan Diego, said, “Well you know, why should we believe you, you need to have some proof, you need to find some proof.” So he’s kinda turned away. And the next day, or I don’t know, a week later I suppose, he’s walking by the same place, but he actually tries to go a different way, he’s kind of trying to avoid her I think (laughs), but she appears again! And she’s like, “Hey, why are you trying to avoid me?” You know. And he proceeds to tell her, ummm, you know, “They don’t believe me, you know, there’s no proof.” And she says, “Well, climb up on this hill and uhhh pick some roses, and uhh pick these roses umm to bring to this bishop.” And umm so he does that, he picks these roses. And he carries them in his ‘thilma’, in his shirt, uhh kinda like this, like makes a kind of pouch with his shirt and carries them. And then goes to the bishop and says, “Okay, she appeared to me again.” And uhh the bishop’s like, “Well where’s your proof?”And so he, he drops the flowers from his shirt. And you know, he’s thinks like, here’s my proof, the flowers, the roses. But actually, the roses, being carried in the shirt, had stained his shirt, his ‘thilma’ and there was an image of the Virgen di Guadalupe. And then the bishops all got down on their knees, because this is a holy thing, you know, and imagine this miracle, ‘milagro’, and so he got down on his knees. And there’s a church there today, right this is a church, a famous church, and that’s the story of that church.”

The informant said that his grandmother told him the story when he was much younger. The informant is half Mexican, and he included several Spanish words in his retelling of the story. The story seems very personal to the informant, because he learned it from a cherished family member and it ties back to his heritage. However, he said that he could not remember the name of the church, though he knew it at one point. Thus, the story meant more to him as a tale in itself, tying back to his grandmother, his Mexican heritage, and his religion, than a tale about a specific church. When he was telling it to me, his voice became more excited towards the end of the tale, when Juan Diego’s proof succeeds in convincing the bishops to believe him and build the church. The informant believed in the tale and regarded it highly.

Many narratives have meanings beyond the literary plot. This narrative has ties to heritage and religion. The informant, living in Los Angeles, doesn’t often get to celebrate his unique heritage and religion, and narratives like this help to reaffirm some of his beliefs. The story venerates both the Virgin of Guadalupe, the new Catholic church, and the efforts of a poor peasant man following the will of God. Thus, it is held dearly by a religious common-man. I found the tale interesting, more so because of the informant’s enthusiasm and emotional connections to it. I don’t know if I believe that the roses stained the shirt in the form of the Virgin, but I believe that something similar could have happened, or that the stain could have looked similar to her form. In any case, the connotations of the story are more important that it’s actuality. I think this legend is a good example of the strength of Mexican heritage and familial ties, the prominence of Catholicism in Mexico and its emotional power, and the tendency of legends to connect with the common-man.

It should also be noted that I didn’t know how to spell some of the Spanish words, specifically “thilma”, and I couldn’t find it online. I spelled it phonetically.

 

Lana sube, lana baja

Nationality: American
Age: 18
Occupation: Student
Residence: Los Angeles, CA
Performance Date: 4/24/2013
Primary Language: English
Language: Spanish

My friend is a film student at the University of Southern California.  His mother’s side of the family is Mexican, and his father’s side of the family is Serbian.

My friend heard this riddle from a cousin 6 years ago during a New Year’s celebration.  The riddle is usually delievered as:
“Lana sube, lana baja.  Que es?”

Which translates to:

“Wool rises, wool falls.  What is it?”

He says that this riddle is supposed to be  asked very quickly in order to confuse the listener.  My friend remembers that his cousin asked the riddle very quickly and he wasn’t sure what she was asking for.

The central catch to the riddle is the pun on “lana baja.”  “Lana baja” sounds similar to “la navaja,” which means “the blade” in Spanish.  Because the riddle is delivered so quickly, the riddle could possibly sound like “Lana sube, la navaja.”

The proper answer to “Lana sube, lana baja.  Que es?”  is “Lana baja,” because that is where the potential confusion lies.  My friend says that there is a level of expectation for the recipient to answer correctly if the recipient is fluent in Spanish.  When the he was unable to provide an answer for the riddle the first time, his cousin laughed at him.
The riddle itself doesn’t have any inherent meaning – it functions primarily as a catch riddle that plays on the language.  However, my friend said that this is a shortened version of another rhyme.  He speculates that this version of the riddle is popular among children because it’s easy to remember and is catchy.

I agree with my friend’s interpretation of this riddle.  However, I think this version is more popular with children because it’s easier to remember and has a pretty straightforward function and meaning.  The other version of this riddle that the informant told me is used by older people, and can also be understood as a proverb.  This is why I think the longer version is more popular among adults, and the shorter version presented above is popular with children.  I also think that it might be perceived as more proper to use the proverbial version if you’re older than the person who you’re giving the riddle to.
The other version can be found on a separate post here:
http://uscfolklorearc.wpenginepowered.com/?p=19268

Lana sube, lana baja, el senor que la trabaja

Nationality: American
Age: 18
Occupation: College student
Residence: Los Angeles, CA
Performance Date: 4/24/2013
Primary Language: English
Language: Spanish

“Lana sube, lana baja, el senor que la trabaja”

Translated: “Money rises, money falls, for the person who deals with money”

My friend heard this riddle from his grandmother on his mother’s side.  It is a riddle that is typically posed as a question, so the performer would add “Que es?”  at the end.

The riddle is usually said fairly quickly, as it functions primarily as a catch riddle.  The answer to the riddle is “lana baja.”  The riddle operates on the phrase “lana baja” because it sounds similar to “la navaja,” which is “the blade” in Spanish.  It is up to the listener to hear the riddle correctly and point out the misleading phrase.  If the listener can’t identify the catch in the riddle, the asker usually pokes fun at the listener.

My friend said that this riddle is part of a large group of riddles in Mexico that revolve around puns and catching the listener off guard.  He says that as far as he knows, this is one of the more popular riddles in that group.

The riddle can also act as a proverb, given as advice by the asker to the listener.

“Lana” in Spanish means “wool,” but it also can mean “money.”  My friend’s grandmother told him this riddle not only to try to catch him, but to pass down the lesson in the riddle as well.   The lesson is that whoever deals with money must also deal with its instability, its ability to go up and go down without much warning.  When the riddle refers to “el senor que la trabaja,” or the person who deals with money, it doesn’t refer to a specific profession that handles money.  Thus the lesson in the riddle carries pretty universally.

The informant said that this riddle has a shorter version that is purely a catch riddle.  He feels that this version is more popular with adults because it also offers advice to the listener.  The shorter version of the riddle does away with the proverb on money and uses the more literal meaning of “lana,” wool.

I heard this riddle shortly after the informant told me the shorter version.  I was very interested in how “lana” takes on a different meaning in this version and gives the riddle a second function.  It seems to me that in order for the catch riddles to be properly used and understood, the performer and listener have to be fluent in Spanish and understand intricacies of the language as well (such as informal meanings of words).

I’ve made an entry on the shorter version of this riddle, which can be found here:
http://uscfolklorearc.wpenginepowered.com/?p=19262