Author Archives: altocat

“Bloody Mary” Test of Courage

Main Piece:

B: So when I was in kindergarten or first grade, during recess my friends and I would play four-square. So, I was- there’s a line and I was waiting in the line to play. And I heard two boys talking about Bloody Mary. They said you have to say “bloody mary” three times into a mirror, and then she comes out or something.

Me: Could you do this in any mirror or did you have to go in a specific room?

B: You had to do it in the bathroom. But I tried it and nothing happened (laughs the kind of laugh you do when you try something silly).

Me: Why do you think kids tell each other this story?

B: I think part of the reason is because they want to scare each other. And I feel like part of it is also that, they got told it and they got scared, and they want other people to know because they want them to be aware or something.

Me: What thoughts did you have when you tried this?

B: I didn’t have any thoughts, I was like, I’m gonna do this, and I went in the bathroom and turned off the lights and shut the door, and then I started saying it? And then I was like, “this is fake,” and went back out.

Background: 

My informant is my cousin’s 10-year-old son, who is in the fourth grade. He lives in a suburban neighborhood near Des Moines, which is the capital of Iowa. He goes to a public elementary school in his district, where he heard this story. He then tested the theory in the bathroom at his own house. He insinuates that he was never fearful of this story nor did he believe it, and carries this tone throughout his telling of it. 

Context:

This is a transcript of our conversation over the phone. Lately, he has been telling me stories about what goes on during school, though this conversation was prompted specifically for this collection project. I was curious about whether his generation still knew about bloody mary.

Thoughts: 

I was pretty surprised that “Bloody Mary” is still an ongoing tradition/ritual for kids in my informant’s generation. In class, we learned about Dundes’ theory on Bloody Mary’s connection to fears about menstruation in young girls, which explained why so many of my female classmates also knew about this ritual, and how they learned of it when they were in elementary or middle school. Thus, I was slightly surprised that my cousin’s son also knew about Bloody Mary, and that he learned about it from other boys. In this instance, the story of Bloody Mary doesn’t seem to attest to girls’ fears about menstruation, which is a potentially scary and traumatic first experience if not well-prepared for it, but rather, a sort of test of courage for boys. My informant’s commentary on the reason the story is told, which is that the relayer was scared themselves, suggests that some fear may be alleviated when the story is passed onto another person. The act of trying it, then, tests your courage to face this alleged horrifying sight of a bloody woman, which fully alleviates your fear when nothing happens.

For Dundes’ work on Bloody Mary, see:

Dundes, Alan. Bloody Mary in the Mirror: Essays in Psychoanalytic Folkloristics. University Press of Mississippi, 2002. JSTOR, www.jstor.org/stable/j.ctt2tvfn2. Accessed 1 May 2021. 

Creation Myth of Vietnam: Sự Tích Bà Âu Cơ

Main Piece:

G:  Bà Âu Cơ, nghe nói là đẻ ra một bọc. Trong bọc nó nở một trăm cái trứng. Ông Lạc Long Quân lấy bà Âu Cơ, get ready với bà Âu cơ. Đẻ ra một trăm trứng. Một trăm trứng đó nó ra một trăm người con. Những người con đó, sau lớn lên, mỗi người… lớn lên thì mỗi người ngự trị một vùng… giống người ở bắc, người ở nam, người ở trung, người thì ở xa xôi trên rừng núi, còn người thì xuống biển. Năm mươi người con lên rừng, và năm mươi người con xuống biển. Tức là vùng biển. Rồi mới sinh ra những người trên rừng đó thì mới lập ra những, cũng như là vùng thượng du, rồi cao nguyên, này kia. Năm mươi người con xưống biển, thì ở những cái vùng thấp đồng bằng giống như mình. 

  • Translation: “Lady Âu Cơ, I heard that she birthed a pouch. Inside the pouch was one hundred eggs. Sir Lạc Long Quân married Lady Âu Cơ, get ready with Lady Âu Cơ. She gave birth to one hundred eggs. From those one hundred eggs emerged one hundred children.  Those children, when they grew up, each child… when they grew up, each child came to rule a certain area… like the people from the North, people from the South, people from the central area, those people split up far from each other, some living in the jungle while others lived by the sea. Fifty people went to live in the jungle, while fifty people went to live by the sea. That is the sea. When the children were born and came to live in and rule the jungle, they established the Northern region, then the highlands, and things like that. Fifty of the other children who lived by the sea, established the lowland Delta region who we are today.

Background:

My informant is my grandmother, who was born and raised in Vietnam. She grew up in the Delta region of Vietnam, and first heard pieces of this creation myth from her father (my great-grandfather), but learned the long-form written version while she was in school. She explains that her father was told this story by his father, who was told the story from his father, and onwards. It is a story that is thus passed down from generation to generation, but also became a part of Vietnamese history taught in schools when my grandmother was in third grade. She likes this story because of the fond memories she has attached to it.

Context:

This is a transcription of a live conversation between my grandmother and I. I have been able to visit her from time to time during the pandemic and recorded this conversation during one of those visits.

Thoughts:

The creation myth of Lady Âu Cơ can be complex and complicated, and this telling of it is a very simplified version of the myth. Many other details regarding the relationship between Âu Cơ and Lạc Long Quân were not included in my grandmother’s telling of the myth. One element that is not clearly explained is how Lady Âu Cơ is a fairy deity, while Lạc Long Quân is a dragon deity. Their separation then is due to the difference of their needs; Âu Cơ wanted to live in the mountains while Lạc Long Quân needed to live by the sea. Despite the simplicity of this telling, most of the main points of the myth are covered. That is, eggs often appear in creation myths due to their symbolism of life. Such is the case with this myth, in which the first people of Vietnam emerged from one hundred eggs. I love this story because it captures how different groups of Vietnamese people (those from the Delta and those from the Highlands) came to be through a loving relationship between two deities. One note to make about myths and legends is how their classification depends on the storyteller’s belief. For my grandmother, this is a sacred creation myth that details how the Vietnamese people came to be. For me, who was not raised with the story, it is more of a legend.

Don’t Sweep the Floor on Lunar New Year

Main Piece:

D: On the first day of New Year, you don’t sweep the floor. They believe that you’re gonna sweep away all of the good things– they don’t talk about luck, they talk about wealth, money. So you just keep it inside the house, or maybe you can gather it in one spot and leave it there. Until…maybe– because they celebrate on the first, second, and third [days]– those are the three main, then on the third day, you can take away the trash. Or, if you swept it outside, you can sweep it back in. 

Background:

My informant is my father, who was born and raised in Vietnam. Vietnamese New Year is often a large celebration, which goes according to the Lunar calendar. In Vietnamese, New Year is called Tết, and is full of superstitions and traditional practices to ensure the following year will be filled with good luck and fortune. My father’s grandfather and mother thus performed this practice every New Year, however, my father does not believe in it as much. Since immigrating to the United States in the 1990s and having his own family, we have not performed this practice.

Context:

This is a transcription of a live conversation between my father and me. He often tells me stories about his life and past and was reminded of this story when I asked him about folk magic.

Thoughts:

Though I was born in the United States, being the first generation of American-born children in my family, I was raised with many customs and traditions from Vietnam. Since I was young, Vietnamese New Year has always been a large celebration. Many other customs of the New Year have been continued after my parents’ generation immigrated, while others have not. It’s interesting to see which customs continued and which customs they stopped performing. It seems my grandmother and her generation hold onto certain superstitions much more than my parents and their generation. My father has always been one to not be very superstitious. Thinking of when he was a child, Vietnam was in the midst of war, and after, had to rebuild the country. During this time, financial insecurity was common. I can understand then, why this practice may have been performed more and the superstition believed more during that time when there was much uncertainty. Folk magic is often employed in such times of uncertainty. Specifically, this folk magic practice is homeopathic magic, where the act of sweeping mimics sweeping wealth out of your home (and your possession). Now that my family is not as worried about financial instability, the practice has not been continued. 

Serrano and Cahuilla Dragonfly Song

Main Piece:

I: It’s called the Dragonfly Song, it’s like a lullaby kind of song– so you sing it, and like if your heart is good, and it’s like– you don’t have anger or resentment or like bad feelings, or revenge, or any of those things– but like basically if you have good intentions like a good heart and you sing it dragonflies will come to you and they’ll sit on you. And like it’s really neat to like see it happen, like– they’ll fly around you and then they’ll come fall on you. And, they’ve never like… landed on me because (indicates that she is referring to the good intentions) but like I’ve seen like them go to other people. And so it’s like a really neat– I think people do it with hummingbirds too, but like it’s– so, it’s a lullaby that repeats the 4 verses over again, but the lullaby verses are like “Ooshkana ooshkana oh oh, ooshkana oosh” (these lyrics are typed out phonetically). And it repeats in different variations four times and you have to sing it in verses of 4.

Background:

My informant is a good friend from high school. She is a part of the Cahuilla and Chippewa Indigenous Nations and explains that she learned this Dragonfly Song from a Serrano elder, though it was not the first time she had heard it. She believes that her mother might have sung this lullaby for her when she was a baby. She explains that her parents were actively involved in Indian Country, working with Native children in the community, and her father was the director of a foster care agency that was specifically for Native Youth but also worked with rehabilitating families. She says it was probably during one of their group sessions with the youth where Ernest Siva, the Serrano elder, was a guest and sang this song. This song is meaningful to her because of the symbolism of the dragonfly as a messenger from the spirit world.

Context:

This is a transcript of a conversation between my friend and me over the phone. I have talked to her a few times about my folklore class and explained the collection to her. She was happy to help and talk about some of her traditions.

Thoughts:

My friend and I have talked often about our respective traditions with each other, but there are so many that we have not talked about in detail. This is the first time I learned about the Dragonfly Song and thought it was beautiful. She explained to me that in Cahuilla culture, the dragonfly is thought to be a messenger from the spirit world, and thus, is the connection of the physical world to the spirit world. The need of having a good heart and good intentions in order to attract dragonflies when singing this song illustrates how the spirit world is regarded in Cahuilla culture: healing and nourishing. Its purpose as a lullaby also indicates the importance of children and the youth, as being able to sing this song and attract dragonflies (proof of having a good heart and good intentions) to soothe a child transfers the positive energy and intentions to them.

For more on the Dragonfly Song, see:

Siva, Ernest. Voices of the Flute: Songs of three Southern California Indian Nations. Ushkana Press, 2004.

Cahuilla Death Ritual: Burning the Passed’s Possessions

Main Piece:

I: When someone dies, it’s traditional to burn all of their things, like all of their personal possessions. We do that because… essentially you’re giving what they want to go with them into the next life, so you’re burning it so they can take it with them. Some people burn, some people don’t, and I think the general practice is you just try to burn like the most beloved items, that you’d be like, “They would definitely need this or would want this.” And I think part of it is like– because if you carry on their possessions for a certain long period of time, where you don’t move on or like get rid of it, it can be harmful for the living, as well. So it’s just kind of like a sense of acknowledging that they’re going somewhere else, moving on, but then you’re still here and you just have to wait it out. And you think that your family or your loved ones will burn your stuff when you go to the next world.

Background:

My informant is a good friend from high school. She is a part of the Cahuilla and Chippewa Indigenous Nations and explains this traditional practice of burning the passed’s possessions so they can take them along to the next world. When she first learned of this tradition, she thought it was sort of harsh to burn all of the things the living associated with the dead. She explains that there is usually a desire of the living to hold onto the dead’s most prized possessions, but the practice of burning is also a part of the mourning process. She says that the most traditional people will burn everything, but explains that there are also people who don’t perform this practice.

Context:

This is a transcript of a conversation between my friend and me over the phone. I have talked to her a few times about my folklore class and explained the collection to her. She was happy to help and talk about some of her traditions.

Thoughts:

This traditional Cahuilla practice of burning the possessions of the passed is representative of how life is regarded as cyclical, rather than linear like in American culture. Because life is cyclical, it is thought that the dead will need their possessions for the next life or the next world. My friend expressed to me how she felt this practice was harsh at first, but then explains how she grew to understand that it is also part of the mourning process, and is beneficial for the living to let go of the dead’s possessions. Such a thought process can illustrate how American culture may focus on the needs of the living because if life is linear, there is nothing after death. However, her shift to understanding the benefits of this practice for both the living and the dead, along with the relief in knowing your loved ones will do the same for you when you pass, illustrates the view of life as cyclical; life continues and repeats. Furthermore, this practice could be thought of as both homeopathic and contagious magic. The act of burning possessions and its physical disintegration or disappearance mimics its transfer to the next life or the next world. While, because these items were in contact with the dead when they are burned, they will surely become in their possession again in the next life.