Tag Archives: performance

Preparing for Performances

Nationality: Native American
Age: 12
Occupation: student
Residence: Franklin, Tennessee
Performance Date: 4-25-2020
Primary Language: English

Main Piece:

Informant: We played with xylophone for a couple of years before percussion. And once we were able to be in percussion, you got to use it a lot more. So it’s basically for the kids that wanted to have more time playing on it and making music with it and going more into depth with the instrument. That was for those students who wanted to.

Something we did, we would go around the carpet playing different instruments. So we would say like. . . like we had this certain beat that we would do on every single one. And to prepare for all of our performances, we would do a thing called “Rock your mallets to the top.” So we would say “Rock your mallets to the top.” Then you’d go to the bottom and say, “to the bottom do not stop. Hit them in the middle please. Hit them on your long tong C’s.” And then we’d change to D’s and then we’d change to minors.

Interviewer: Do you think you could do the whole thing for me?

Informant: It’s not very long. It’s . .  *laughs,  “Rock your mallets to the top. Boom boom boom boom boom boom boom. To the bottom do not stop. Boom boom boom boom boom boom boom. Tap them in the middle please, doo doo loo doo doo loo. Hit them on your long tong c’s. Boom boom boom boom boom boom boom.

So we basically would do that and then we’d switch instruments. And then she would say, uh, she would just count to 3 and, or we would do certain, different like patterns and she, our music teacher, would do it and we would repeat them back. And sometimes she would say, we’d put it in different, um, you could take certain bars off. We would do C pentatonic a lot, where you take off your F’s and B’s and so there would be groups of 2 and groups of 3 and then she would ask us to do a certain thing on a group of 3 and a certain thing on a group of 2. And that’s kinda how we prepared for every single one of our performances.

Background:

The informant is a twelve-year-old Native American girl from the Choctaw, Blackfoot, and Lakota Nations. She was born and raised in Tennessee and frequently travels out west to visit family and friends. She is in sixth grade.

Context:

During the Covid-19 Pandemic I flew back home to Tennessee to stay with my family. The informant is my younger sister. I was asking her about groups she was a part of at school.

Thoughts:

She emphasized that this was a musical group for those who wanted to dive deeper into the subject, in this case, spend more time learning the instrument. It was fun to hear the rituals and chants the students would use during practice and before a performance. Ritual is a creative process, key in attaining a certain frame of mind and promoting active engagement. It is also a picture of the beauty that can come out of community and teamwork. It is not solely about the individual. Rather, individuals in a group working together as a cohesive unit. 

Occupational Folklore: “Merde”

Nationality: European American
Age: 19
Occupation: Student
Residence: Chicago
Performance Date: 04/24/2016
Primary Language: English
Language: French

Main Piece: “So I did ballet for many years and usually when someone has a performance, at least where I grew up, you would say ‘break a leg!’ to wish them luck. It’s a weird thing. I don’t know where it came from. But…um… in dance we were never allowed to say ‘break a leg’ because that was an actual concern when dancing. So instead we said ‘merde’ which literally means ‘shit’ in French. So…um…before every show we would always whisper ‘merde’ to each other to wish everyone luck”

Background: The informant did ballet for many years in her hometown, Chicago. Whether the expression is specific to Chicago or to the lore of ballet is unclear. The informant is fluent in French but most of her friends in ballet did not speak any French. However, the majority of ballet terminology (i.e. different positions and movements) is French.

Performance Context: The informant sat across from me at a table.

My Thoughts: I understand the expression as occupational folklore. Knowing and using ‘merde’ is a rite of passage within the context of ballet and performance. Perhaps “merde” is ballet’s adaptation of “break a leg” used in theatre. I also grew up taking lessons in ballet and performing, but have not heard this term, which leads me to believe it is a term specific to the informant’s studio. Because most of the language in ballet is French, it is fitting that the dancer’s lore would be French as well. Even though “merde” has little relevance to ballet, it is consistent with the linguistics of the ballet studio. According to the informant, “merde” was whispered before each performance, so not only is this folklore occupational, it is ritualistic as well.

“Green Room”- Pre-Performance Ballet Ritual

Nationality: American
Age: 19
Occupation: Student
Residence: Los Angeles
Performance Date: 4/3/2015
Primary Language: English
Language: Some Spanish

Informant (“A”) is a 19 year old, female from Rancho Santa Fe, California, and attends The University of Southern California. She is a Human Biology major. She is of European descent and her family includes her mother, father, and older brother who attends college in Texas. Informant has studied ballet for 17 years, including work in a professional company.

A: “Dancers, and, really, it seems most theater people in general, have a lot of rituals and superstitions. The theater can be sort of unpredictable you know? You could have rehearsed every day for a year and something can still go wrong during the show. Especially when you throw nervousness into the mix, things definitely can happen. Sometimes it feels like half of what we can accomplish is just because we were lucky.
The whole time up there you’re praying ‘’Don’t fall, don’t fall down’’, even if you’ve never fallen before, you just don’t know. And you’re not only relying on yourself too. Sometimes as a dancer you just jump and hope your partner catches you! If they’re not in the zone, things can end badly for you. Anyway basically performing is scary and a lot of dancers do things to try and make it less scary.
The first ritual is called Green Room. It’s where the whole cast meets together backstage and we all form, sort of a circle. The oldest member will then say something inspiring, whatever the cast needs at the moment. Then we all hold hands and do that thing where you, like… squeeze the persons hand next to you until it goes all the way around the circle again. This connects us, because like I said you have to rely on other people. Sometimes during this we pass around this green frog you have to kiss, I have no idea why. Then we all do a chant. Depending on the group or show the chant varies..”

Analysis: The superstition seems like a classic example of using a ritual to gain favorable luck of some sort for an event of particular importance. A way to increase control of an event whose failure would be very bad for the performer. It also seems to play quite an important part in binding the dance company together to allow increased trust amongst them. By reinforcing such a sense of community, it increases trust and belonging, things one likely needs if they’re putting themselves in such risky position as a public performance.

Drag Performance

Nationality: Latin-American
Age: 20
Occupation: Student
Residence: Los Angeles, CA
Performance Date: 3/22/2014
Primary Language: English

About the Interviewed: Davey is a student at the George Washington University double-majoring in English and LGBT Studies. His ethnic background hails from Spain. At the time of this interview, he was currently on leave at his home in Southern California. He is biologically male, but he identifies as gender-queer. Nonetheless, he prefers male pronouns. He is 20 years old.

My friend Davey moonlights as a Drag Performer. I asked if he could define what drag is.

Davey: “Well, everything is drag, that’s what RuPaul [drag icon] says. To most people, it’s just dudes dressing up as girls, which is like, kind-of what it is, but not really. It’s a statement on gender, it’s a statement on performing. People come to drag shows dressed as men, people come as women, people come as whatever the hell they want, that’s what drag is. It’s an illusory gender performance. Men and women both dress as things you can’t describe. Men become Queens, Women become Kings, some become things that you can’t describe.”

I asked him if he could describe what a performance is like.

Davey: “That depends on the queen. When I go out there, I lipsync to songs by Rihanna, Beyonce – I like to be fierce. Most queens lipsync, some don’t. Some actually sing live, if their voice is pretty enough. Those are the fishy queens.”

I asked Davey what “Fishy” means.

Davey: (laughs) “Oh lordy! It means vagina. The more fishy you are, the more you look like a real woman in dress and make-up. Some queens try really hard to be fishy. I don’t have the make-up, or the skills. Yet.”

We then talked about Davey’s personal experiences as a drag queen.

Davey: “Well for starters, I’ve never performed at one of the [drag] clubs. You have to be pretty much be top shit to get in these days. I’ve just done it for parties and things. Just for fun.”

I asked him if the pursuit of “fishiness” was about emulating a standard of beauty.

Davey: “Yeah, I mean, everybody wants to be a supermodel, but I just wanna have fun. I think that as a drag performer, we’re attracted to these images of grandeur and beauty, and some respond by mocking it and others try to become it. It all depends on how you interpret it. It’s art. It’s meant to be that way.”

Summary:

Drag is a performance that plays with the notion of Gender in Western Society. Performances take the form of wild cabaret shows, that showcase vibrant individuals who dress in ways that denounce typical gender norms. Drag can either be a form of Male to Female impersonation, or it can be something crazy and hard to pinpoint. Davey defines drag as a visual art.

As an artist myself, I resonated with Davey’s final statement on gender performance – that art is meant to be multi-faceted. Even within cultures, the meaning of certain performances or pieces of folklore are heavily debated. Ultimately, it’s up to the audience to pick and choose which elements resonate the strongest within themselves.

La Tuna

Nationality: Spanish
Age: 51
Occupation: professor
Residence: Redlands, CA
Performance Date: April 27, 2014
Primary Language: English
Language: Spanish

“During my college years in the mid 80’s I was a member of a ‘Tuna” group in Spain. A “Tuna” is a group of university or college students who dress in traditional costumes and play traditional instruments and sing serenades. In essence the tradition of this student tuna band or ensembles seems to go back to the 13th century as reflected in some of the medieval literature. That’s how we know the 13th century part because some of the literature alludes to these roaming student ensembles who would play music largely to earn money. They would sing and in some place they were known as “sopantes” de “sopa” (soup). Like soup kitchens that we have here; people would feed them for free. So sometimes they were known as “sopantes.” So this tradition of these student ensembles was typical of Spain and Portugal and it made its way even to the Americas through Spain. So in Mexico and Peru and all of these countries that were part of the Spanish empire, when the Spanish came and founded their universities here. In 1551 Emperor Charles V granted the charter which established the university of San Marcos in Lima, Peru to other old universities like Mexico City and Santo Domingo. So the tradition spread into the countries of the Americas that way. Today this tradition has even spread into the Netherlands as well. Over time the original purpose of these ensembles disappeared. The students weren’t doing these serenades to get money, largely but it became established as a venerable tradition on university campuses. And like by the 19th century already they were established as a cultural activity or enterprise on campuses. It was now sponsored on the campuses like a club or a school marching band. And membership was through trial; you had to pass. Not only music but pranks and stuff too. All of these things were involved in being admitted into “Le Tuna.” Now the tradition is that each school like Medicine, Architecture, Humanities, Law, you know all of these, have their own. And the colors are set for each field or discipline. I think Medicine is yellow. Basic science is usually royal blue. But there’s green and red. So no matter if it’s from different universities, the schools have the same colors. The costumes are kind of old fashioned and reminiscent of Renaissance, 16th century. So the costumes include a cloak, a ‘dublet,’ which is a tight fitting jacket almost like a bolero jacket that goes on top of a white shirt that has big cuffs and collar, they are like puffy. And then the pants are called petticoat britches, Spanish britches that are fitted right under the knee. And then there’s tights, stockings and also pointy black shoes and the most important thing is the so called “beca.” The “beca” is a V-shaped band that goes over the shoulders and on top of the jacket. The color of it is characteristic of the field. And then on top of everything you wear a big, long cloak, typical of the 16th century. Each ‘tuno,’ pins ribbons of different colors and seals or coat of arms patches that are sewn on of all of the cities and countries that the group has played in. The ribbons are usually given by girls to the “tuno.” But the seals or the coat of arms from places are collected through the traveling. So the amount of ribbons and patches on the cloak tells you already about the ensemble member. Those that are seasoned will have their cloaks nearly covered with patches. And those who are more popular with girls with have more ribbons *chuckles*.  Traditionally, the girl who gives the ribbon would embroider messages onto them for example, “para el tuno mas simpatico” (for the most charming tuno)  or “para el tuno mas guapo” (for the most handsome tuno).  Mothers, aunts, grandmothers and sweethearts would give the ribbons.

The instruments consist of typical Spanish guitars, but also combine other traditional string instruments like “el laud” y “la banduria” and also, very typically tambourines. The tambourines are the quintessential ‘Tuna’ instrument. Also some “Tuna’s” use accordions. Ive’ seen on television that Mexican “Tuna’s” have incorporated the typical Mexican, “guitarron.”

There is not agreement as to the origin of the name. Some trace it to the King of Tunis in north Africa. The tradition says that there might have been a “King Tunez” who was very fond of music and was sort of a vagabond and would like to walk around the streets playing and singing. So apparently sometime in the middle ages or the Renessaince the term “you’re a king of Tunis” would be given to the leader of an itinerant band.  But most people think it comes from the Spanish word “tunante” which is almost like a villain, a rogue but you can also use it with children like in English when we say “you little scamp.” “Tunante” has the connotation of mischievous yet playful, not necessarily malicious because we use it often with children.  From the word “tunante” could have evolved the word “tuno.” So the group of “tunos” became “La Tuna,” the band of “tunos.” But nobody really knows for sure.

They play lots of traditional “folk” music. Many of the songs are “tuna” folk songs but also many others are just other traditional songs that the play in their serenades. In modern times, “tunos” incorporate some more modern, popular music. One of the most typical songs in any ‘tunas’ repertoire is “La Compostelana.” It’s a song named after the “Tuna Compostelana.” Compostelana comes from Santiago de Compostela.  Which is the city of Saint James in northern Spain that has one of the best known and well established universities in Spain, founded in 1495. So this song that every ‘tuna’ plays has a line that says “Que cada cinta que adorna mi capa guarda un trocito de corazon.” Which means: every ribbon that decorates my cloak, holds a piece of heart. So that’s where the idea of the ribbon comes from.

It’s interesting that today in modern, recent times the ‘tunas’ have nearly regained or gone back to the idea of playing to earn money. Because now it’s not uncommon that they are hired by people for institutions or special events, such as weddings or other celebrations and even special events. For example when there are foreign dignitaries that come to Spain or for conventions to serenade visitors. While I was “tuno” we got hired to do two weddings. I was kind of like the ‘buffoon’ of the group. I would be the one cracking all the jokes and had the tambourine. I was directly engaging the audiences. The lead of the group is the one who introduces the band, cracks jokes, talks with the audience, with the girls, does acrobatic jumps and throws the tambourine around. ”

Can you tell me about some of the initiation processes or pranks you mentioned?:

“The selection process when someone wants to be a part of the ‘tuna’ starts with musical skills. Do you know how to play an instrument? Can you sing reasonably? There’s also usually tests to see if the person is shy and able to be out late at night and interacting with audiences. They’re not usually cruel though. Like standing out on the street in your underwear. Or asking a guy to take a ‘clavel,’ a carnation and profess your love to a random girl. Or to play out in the street and ask people to put money in your hat. These tests were kind of embarrassing but not meant to be overly cruel, more to test for an outgoing personality of a member. Oh and I forgot to tell you, some of the bigger groups take summer tours. Some of them have lots of prestige and are like institutions and go on tours abroad or just in Spain. ”

So the group didn’t only sing songs, there was dancing and performance involved?

“Yes, at a certain point the “tunos” get girls from the audience to dance. They play paso dobles and take women out to dance with them. Sometimes it’s in auditoriums but others it’s out in the street or they might go to an airport or something.”

 

I had seen this picture of my dad before and knew it was from his days of being a “tuno.” But I didn’t have anymore details than that. It was really fun for me to hear about my dad’s memories from college, right about when he was my age. It appears that this tradition in Spanish universities is similar to the American college tradition of fraternities. In both they form a close group and have some forms of initiations, but the ‘Tuna” has a musical and performance aspect that the fraternities lack. As his daughter I only get to see tidbits of his humor, but knowing that he played the lead of the group and/or buffoon makes absolute sense. It was also entertaining for me to watch him giggle when he started explaining the interactions “La Tuna” would have with women. It was my impression that he was popular with the ladies, although he didn’t explicitly admit that.
Here is another explanation of the “Tuna” tradition: http://www.donquijote.org/culture/spain/society/customs/tuna.asp