Tag Archives: Mexican

Zapatito blanco, zapatito azul. Dime cauntos anos tienes tu: Children’s folklore/game/counting-out-rhyme

Nationality: American
Age: 18
Occupation: Student
Residence: Los Angeles
Performance Date: 2/16/23
Primary Language: English
Language: Spanish

Text: “Zapatito blanco, zapatito azul. Dime cuántos años tienes tú.” “Little white shoe, little blue shoe. Tell me how many years are you.” 

Context: EC’s relationship to this piece stems from her Mexican culture influenced by her childhood specifically within elementary school. Given that she attended a predominantly hispanic elementary school in Whittier California, EC would often hear this children’s folklore/game/counting-out-rhyme within her classmates ranging from kindergarten through third grade as they spoke Spanish. They would typically say the phrase and touch everyone’s shoe according to every syllable of the phrase as they were getting ready to play a game and the goal was to determine who was “it”; similarly to “bubble gum bubble gum in a dish, how many pieces to do wish?”. EC interprets this speech as a fun way to determine who was ‘it” when playing hide-and-seek or tag. She explains that this phrase takes her back to her childhood where playing with friends at recess showcased innocence. She interprets this phrase as a sweet, youthful, random, and nice sounding statement used to get the game started. 

Analysis: The cultural value that I see present within this children’s folklore/game/counting-out-rhyme relates to the customs of childhood within society. Despite the fact that this phrase has cultural value within the Mexican/Hispanic community, it ultimately revolves around the culture of childhood considering that it is a shared experience among many elementary aged children due to the variations in both English and Spanish. Given the fact that even though I am Mexican myself and have never heard this phrase being said at school, I often heard the English bubblegum version. Overall, I see this children’s game as a pure indicator of childhood innocence as it is a silly pre-game ritual used to determine the start of a game whether playing tag or hide-and-seek. I interpret this children’s folklore/game/counting-out-rhyme as a creative standpoint considering it has similar rhyming components and various alomotifs that connect to the English version that I grew up playing.

Little Frog Tail

Nationality: American
Age: 18
Occupation: Student
Residence: Los Angeles
Performance Date: February 14th, 2023
Primary Language: English
Language: Spanish

Spanish Proverb: “Sana sana colita de rana”

Translation: “Heal heal little tail of the frog”

Context:

The informant is of Mexican origin and has spent most of her childhood around family members of Hispanic culture. They have heard this proverb said whilst growing up by the elders in the family (parents and other guardians). Specifically, it was heard if a child was to have the flu or get injured and was said whilst treating the informant and ‘“healing” them either by providing medicine to drink or placing a bandage on a wound. Traditionally, it was repeated whilst the parent (in her scenario) was treating the wound until the process was complete or the child had stopped feeling the exaggerated amount of pain that had been associated with an injury. Although the phrase did not make sense, her family interpreted it as a distraction in order to prevent a child from continuously crying.

Analysis:

The proverb was used as a form of comfort that the informant had needed throughout their childhood when being injured as it provided reassurance whilst they were in a state of sadness or illness. The association of animals and injury present an encapsulating approach to the proverb as the fascination that children, specifically toddlers, may have with stories and tales of creatures/animals allow them to feel the warmth through the healing action that their parents are performing. This indirectly allows the child to associate the warmth they feel with animals to their interaction with their parents at being placed into a state of ease when they are hurt, binding it to animals and perhaps presenting the cycle of nature and how all organisms experience pain and can heal. The language provided in “little tail of the frog” is ironic as most species do not have tails and conveys that the pain is not actually there, furthermore presenting this proverb as a slight incantation which is prevalent through ancient Mexican culture. This mechanism allows the parents to provide the feeling of comfort and allow children to feel connected to the nature that encompasses Mexico and the various wildlife that live there, reminding them of their heritage.

Unwrapping Tamales For Christmas

Background: The informant is a 52 year old man. He was born in Tulare, California. He grew up with his four siblings and two parents, moving from location to location across California. He currently lives in Los Angeles, California. 

Context: The context as that when the informant was eating tamales, he was reminded of Christmas.

Text:

MD: “Well typically, uh, mexican families, they make, uh, tamales for Christmas, and, you know, it’s kind of like a seasonal food, and that’s considered traditional to make tamales for Christmas, and uh, the big joke about tamales and mexicans is that the reason why mexicans make tamales is so they can have something to unwrap for christmas. And so uh, I used to help my mom make ‘em, and we would kind of like interchange, like, you know, sometimes I would like, layout the leaves and spread the masa, which is like corn dough, on them, or other times she would do that, and she would allow me to put the meat inside of it. It’s like a meat sauce, and uh, she didn’t like me putting the meat with the sauce in the tamale because I would typically put too much and, uh, she’d kind of strive for balance between the masa and the meat, the problem though too is like when you steam them, if you, if you put too much meat inside them, they kind of overflow, and they, they break apart the tamale, you know? It is what it is.” 

Analysis:

Informant: He is very humorous and recalls both the joke and the tamales in good fun. He reminisces about his time with his mother and looks to it as a great bonding moment between the two of them each year.

Mine: First, the joke’s context is that Mexicans are considered poor in America and will not have the money to buy presents for their family. While on the surface, the joke seems like a laughable jab, it speaks to a much deeper social context, about how Mexican families are treated in the greater societal context of the US. Typically, they do not have higher paying jobs or may be supporting a larger family and much more. However, the joke is prevalent in Mexican communities in order to make light of their hardships. It shows how humor is consistently used to make a situation seem better and it’s a source of hope. Second, making tamales on Christmas is very widespread in Mexican culture. Given how the informant would always complete the task with his mother, it provided a way for the two of them to connect through their culture of making food. 

Easter Capirotada

Background: The informant is a 50 year old man. He was born in Tecate, Mexico, moving to California when he was young. He grew up with his four siblings and two parents, moving from location to location across California. He currently lives in Los Angeles, California. 

Context: The context was a few weeks before Easter, and the informant began sharing stories about what happens before Easter when walking in the mall past Easter decorations.


Text:

UI: “Around Easter, when I was a kid, we used to go to my grandmothers, in uh, Delano, which is a small town near Bakersfield, and, and what she used to do is that she would make this, hm, I don’t know how to explain it. It’s like a bread pudding and in Spanish it’s called capirotada. You know, I haven’t had it in so long because it takes like all day to make it. What you do is start off with about a week old bread, and then you put it in a tray with butter. And basically, it’s like traditional Mexican bread. It’s like a bread pudding type bread, and you typically make it before Easter and it’s like day old bread with raisins and butter and nuts, and it’s just like it all melts together with cinnamon and they sprinkle it with cheese on top and it all kind of like blends together into a weird pudding mixture, and that’s basically in preparation for Easter. I used to help my grandmother make it, because she would make trays and trays for everybody. The bread represents the body of Christ, the syrup is his blood, and the cloves are the nails of the cross, and the whole cinnamon sticks are the woods of the cross, and the melted cheese stands for the holy shroud. I guess it’s just like hidden meanings with the crucifixion of Jesus for Easter within the food.” 

Analysis:

Informant: He was very excited when sharing the story and appeared actually nostalgic for his childhood. Evidently, the time making food with his grandmother was a peaceful time of his life, and he loved the food.

Mine: Many of the foods around the holiday have hidden religious meanings behind them, having a dual cultural significance for both being a food to bring together family on holidays and for the religious context. The informant made the food with his grandmother, serving as time for the two of them to bond and for him to be taught the recipe of the Mexican dish. He was in the transition state from passively accepting the tradition when he began cooking with his grandmother. Then, the capirotada holds religious folklore, with each element not being randomly chosen, but rather chosen to represent an element of Christ. Given that the informantant still remembers the information after all these years, it is clear that the message imparted onto him by his grandmother held a deep value for him. It is our elders who are carrying on the traditions and they must be listened to in order to fully absorb it.

The Curse of the Church in Tlzazalca

PP is an 18 year old college student. She is a freshman communications major whose parents are from Mexico. PP has visited her hometown Tlzazalca in Mexico many times and heard about this curse from her family and the locals.

Context: The informant and I are roommates and I know she has strong ties to her Mexican culture and I asked if she had any folk legends to share as we drank tea on the couch. She has stayed in Mexico over summers and experienced them with her family.

Transcript:

PP: Basically, I don’t know when exactly this happened but I think it’s from the 1800s. The church in the plaza, it’s been there for so many years, it was built when the town was first created. It was supposedly the first building created there and church became really important to the town. But then people were not respecting the church. You kind of have to go to church there [in Tlzazalca] or else it’s taboo if that makes sense. What happened was girls would show up wearing really short dresses and stuff started to happen that were not considered Godly in the church. The priest was really pissed at the town and could not believe their disrespect because the town is supposed to be sacred. At this point he was falling out of the church like a lot of the other locals and he started doing satanic rituals to make them listen to him. He then cursed the town and that is why the town does not grow… By that I mean the town is so small and the population stays the same. As people continue to die, it would become a ghost town, and that is what the priest intended.

Thoughts/Analysis: This is an interesting version of stories were the Godly/heroic figure turns on the town. It reminds me a bit of Beauty and the Beast where the witch cursed the Beast for being selfish. This story is based on a social belief of people in the town. This story sits on the fine line between a myth and a legend because legends are based on social beliefs and might be true, myths are creation stories and would tell how the town of Tlzazalca stays so small.

For a variation of a very similar story, see:

Tayebi, N. “Kuldhara.” USC Digital Folklore Archives, May 8, 2018. http://uscfolklorearc.wpenginepowered.com/kuldhara/.