Author Archives: Sophia Ruiz

The Screenwriter’s “Champion”

Main Piece:

“The only like, real, like screenwriting folklore I know is like the championing method which I don’t think— the more I think about it, the more I think this is fake, but freshman me believed it so hard. It was like— to explain for the folklore archive— it was like the way people get into screenwriting. Every screenwriting professor picks one application and has to fight for it. And so every student has their “champion” who is the one who fought for them to get into this program. And then before you graduate they have to tell you who they are.”

Background: 

My informant is one of my friends, a sophomore in the screenwriting major at USC. During her time at this school, she learned about the folk legend through our upperclassman in freshman year, who are also screenwriting majors. As stated in the performance, she seemed to believe it more in the past than she does now, but still spreads the story like the rest of our peer group does.

Context: 

This piece was brought up in conversation when my informant, another participant, and I were talking about our classes. This then led into a tangent about the kinds of screenwriting stories we’ve heard in the department, and how many different versions there are of the “champion legend” that supposedly led to students being selected for the program. 

My thoughts: 

I heard a similar version of this story when I was visiting USC as a high school senior, and heard it from upperclassmen that have since graduated. Since that was a few years ago, I think it’s fair to say that there has to be some credibility in the legend considering how many times it’s been passed down the cohorts in the screenwriting major. I would consider this story to be a legend because it plays a role in the real world in the sense that the faculty do have to determine which applicants to accept into the school, but it’s uncertain if they actually “champion” a particular application or not. This could furthermore be considered a local legend, at least in the School of Cinematic Arts, and by learning it, new screenwriters are initiated into the peer group. That being said, the story could be also interpreted as a myth, because like a sacred creation story, this piece explains the origins of the USC screenwriting student and how they came to be. Overall what I like about this piece is the various retellings there are from the upperclassman. because them passing down the screenwriting lore to us is like being initiated into the group.

Calladita Luzes Mas Bonita

Main Piece: 

“Calladita luzes mas bonita.”

Transliteration:

“Quieter you shine much prettier.”

Translation: 

“You shine brighter when you’re quiet.”

Background: 

My informant is one of my friends who lives in Miami, Florida, and is of Cuban and Iranian heritage. Her grandmother would often take care of her and her cousins when they were little, and the above piece is a phrase she would say to them when they were behaving poorly or talking back to her. This is also a phrase that’s recognized across Latinx cultures as a form of expressing disapproval, and criticizing one for talking too much. My informant also noted that it was usually the girls who would be on the receiving end of this expression, and not her boy cousins. 

Context: 

This piece came up when my friend and I were talking about the various ways that we would be disciplined and criticized by our grandmothers and elders in the Latinx community. My friend brought this phrase to attention as one of her memories, and I immediately recognized it because I’d heard a similar version of it when I was younger.  

Thoughts: 

This phrase seems to have been a staple of my childhood, part of which was spent in Mexico when I was young. My teacher in fourth grade would tell us the variation phrase, “calladitos se ven mas bonitos,” which translates to: “you [all] look prettier when you’re quiet.” Like my informant said, this phrase was used to criticize kids who were being rude or talking too much, but in my experience, it could also be applied to older people as well. The general message also serves as a warning to remind people to think about how their public image may be affected by their constant chatter. Like many proverbs, this tended to come from the mouths of our elders or anyone who seemed to carry a wave of authority, but that perception could have come as a result of them delivering the proverb. Additionally, it’s important to examine them because they can be representative of what kinds of behavior are accepted and valued in a culture— in this case, learning to hold your tongue. 

Regardless, I do agree with my informant’s observation that girls were more likely to be chastised for speaking too much rather than boys, and as she later added, it “Speaks to, for better or worse, the culture around propriety— not only in Cuban culture, but like Hispanic cultures.” From a young age, girls are conditioned from a young age to speak quietly and not to express more than their share of words. Introverted qualities are praised, whereas boys are given the liberty to talk as much as they want— maybe not constantly, as my fourth grade teacher scolded us, but extroverted behavior was encouraged, even expected for them.

Waiting to go Somewhere After Sneezing

Main Piece:

“He did tell me the other day like, [his family] have this superstition that if you sneeze, like, before you’re gonna go somewhere it means that, like, to wait a little bit so like bad things don’t happen to you.”

Background: 

My informant is one of my friends, and is of Cuban and Iranian heritage. This piece comes from a superstition that her Iranian father told her about recently that he heard from his side of the family. Though he is not superstitious himself, and my informant’s family don’t follow this superstition, it seems to be prevalent in Iranian culture. My informant believes that this superstition serves as a form of protection from harm: “like if you’re gonna drive and you sneeze, wait a minute in case you crash.”

Context: 

This piece came after my friend and I were talking about superstitions we’ve heard, and she told me of some Iranian ones that she heard from her father. After listening, I asked if she could elaborate more on what she meant by “bad things” happening to one who didn’t wait after sneezing, since I was a bit confused.

Thoughts: 

Along with the one my informant provided, I’ve heard a fair amount of superstitions about sneezing, including the one that goes “if you sneeze, it means someone’s talking behind your back.” I think these are interesting because of the way sneezing is perceived as either ill will or bad luck waiting to happen, and this might have to do with sneezing being a symptom of sickness. The addition of “waiting a minute” could also be a representation of being advised to rest to prevent harm, or illness. While many superstitions, or rather, folk beliefs, have negative connotations, the wariness is warranted in the case of this one. At the same time, it also has a protective element to the belief. While the sneeze comes as an omen of bad luck, it simultaneously warns the person affected by it to be careful of their surroundings and actions. It’s both a blessing and a curse, which is what I like about this belief because it shows the nuances in how people categorize superstitions as either “good” or “bad” without realizing that it’s the people that give folk beliefs their meanings, not the action itself.

Sana Sana Colita de Rana

Main Piece: 

“Sana sana colita de rana

Si no sana hoy

Sana mañana”

Transliteration:

“Heal, heal, tiny frog tail

If it doesn’t heal today

It will heal tomorrow”

Translation:

“Heal, heal, tiny frog tail

If it doesn’t heal today

It will heal tomorrow”

Background: 

My informant is one of my friends who lives in Miami, Florida, and is of Cuban and Iranian heritage. As a child, my informant could always expect to hear this from her grandmother whenever she got hurt. “Sana sana colita de rana” is a popular rhyme often told to small children across Latinx culture as a way to console them after injuries (like falling and scraping their knees, for example). Along with the song, my informant added, “my family always accompanied it with a kiss on the appropriate wound, so I think it’s kind of the equivalent of when Americans are like ‘kiss your boo boos’.”

Context: 

This childhood rhyme came up when I asked my informant if she knew of any Cuban sayings. I listed a different variation of this rhyme as an example, which she was able to recognize and provide the version she’d grown up hearing. 

Thoughts: 

I remember hearing this rhyme all the time whenever I got hurt as a kid, though I heard it differently. In Mexican culture, or at least how my mother told it to me, the rhyme went “Sana sana colita de rana, si no se te quita hoy se te quita mañana,” which translates to: “heal, heal, tiny frog tail, if [the pain] doesn’t leave you today, it will leave you tomorrow.” Either way, hearing the rhyme brings back nostalgia from when I was little. I agree with what my informant said about kissing the wound being equivalent to what American parents might do, and I think the addition of the rhyme also adds to the notion that this performance is mostly a placebo effect.

That being said, I think the rhyme is an important part of children’s culture, particularly in the way that the content doesn’t make sense; what does a frog’s tail have to do with healing, for example, a scraped knee? Why a frog, specifically, and not a medical professional? The nonsensical element here is key to children’s folklore because it allows them to comprehend the world in a way that only their folk group could understand and readily accept. However, another way to look at it is that the silliness of the rhyme helps the child focus less on their pain and more on trying to understand the contents.

For another variation, see Licea, May 12, 2019, “Sana Sana Colita de Rana – Spanish saying”, USC Folklore Archives).

Name in the Honey Jar

Main Piece: 

“So when my grandma would think that someone had ill will towards you, she would write their name on a piece of paper and stick it in a jar of honey, and put it in the freezer. So it’s the idea that like, it would you know, ‘sweeten’ the person or like make them change their opinion [of you] or influence them in a way.”

Background: 

My informant is one of my friends who lives in Miami, Florida, and is of Cuban and Iranian heritage. This is a folk belief that her grandmother holds, and practices for both herself and the rest of my informant’s family members whenever they supposed someone had “ill will” towards them. This belief seems to have been passed down from my informant’s great-grandmother. When I asked if my informant believed in the custom, she confessed, “I think I want to believe it, it definitely gives me a sense of comfort,” then added, “I kind of feel like, ‘what do I have to lose by it?'”

Context: 

This piece was brought up when my informant and I were talking about the different kinds of superstitions we’d heard in our families growing up. Since she’d already told me a piece of Iranian folk beliefs from her father’s side, I asked if she knew any Cuban ones, and she provided me with the above piece. 

Thoughts: 

I’ve never heard of a custom like putting someone’s name into a jar of honey to “sweeten them,” so I enjoyed this folk belief for the content, but I also found it to be a good example of Homeopathic magic, whether my informant’s grandmother intended it or not. In this piece, the desired event is for the person intending to inflict ill will on— for example— my informant, to change their mind about doing so. In order to do that, my informant’s grandmother wrote the person’s name down on a slip of paper, and stuck it into a jar of honey, which is the mimetic action that is supposed to represent the kindness said person should show towards my informant instead of trying to inflict ill will. I’m not sure what putting the jar of honey in the freezer does, but the action of freezing could be to solidify the behavior that the person should show the informant without worrying that it will melt, and thus undo their way of thinking. 

However, this custom could also be interpreted as a combination of two types of magic: Homeopathic and Contagious. One element of the performance is to take the person’s name— which is deeply connected to their identity— by writing it down on paper. Contagious magic usually requires a physical part of someone’s body/identity, which can’t be done with a name, but it seems that writing it down is the equivalent of making it physical.