Category Archives: Homeopathic

New Years Rituals

“On New Year’s Eve as it gets closer to midnight we prepare our bodies by eating 12 green grapes, one for each month, eating spinach for good health and money, and eating lentils as well. We also tie a red string and yellow string around our wrists or ankles to symbolize love, protection, and health. We never take it off, we just wait for it to naturally break sometime over that year. We also peel cuties and save the skin to symbolize our first fruit of the year. Lastly, we walk around our neighborhood with empty suitcases to symbolize keeping us safe on our travels that we take throughout the year.”

The informant does this tradition on New Year’s eve/day once it hits midnight. Usually at her grandma’s house. In the tradition, everyone plays the same role and it includes “my mom, sister, grandma and I.” It’s a tradition that has been kept in the family that has been passed down for them to take part in. 

These rituals are homeopathic magic rituals, meaning when performed they bring magic to the people performing it. Eating spinach as a ritual brings magically good health and money. It is a symbolic magic, meaning that the performance mimics the desired result. Spinach is green and leafy, like money, and it is good for health. The first fruit of the year may be important for two reasons. One, that fruit symbolizes the ability to eat well. Secondly, fruit is often used as a term of success financially, for example “fruitful returns” on an investment. Both eating well and the word parallels symbolize financial stability and wealth. It is clear that this culture values wealth and food through these rituals, which primarily focus on money. The suitcase may also be related to money, as it could symbolize wealth enough to travel, in addition to the safety component. This is all done on New Years Eve because as the clock strikes midnight, there is a liminal “between” time in which magic is possible. It is important for many cultures to perform rituals during this liminal time to ensure magic for what they desire in the new year is spread into the universe. Liminal times are often seen as magical times, so it is an ideal time to wish or spread magic.

Moroccan Evil Eye

Informant Details

  • Gender: Female
  • Occupation: Student
  • Nationality: Moroccan-American

Folklore Genre: Folk Beliefs/Superstitions (magic)

1. Text

The informant explained a common curse in her culture (the evil eye) and the talisman used to prevent this curse. The evil eye gaze is when someone looks at you with jealousy, and it causes bad fortune. To protect herself from the evil eye gaze, the informant wears jewelry that is decorated with charms that look like eyes. (pictured below) The informant calls this type of jewelry “evil eyes” because they are talismans used to ward off the evil eye gaze. A superstition surrounding this practice is that when the evil eye talisman breaks and falls off, it has done its job protecting you. In addition to the evil eye talisman, the informant’s mother burns sage around her and recites surahs and bismillahs from the Quran. These rituals are also meant to ask Allah for protection against the evil eye.

Image: an evil eye talisman attached to a hamsa hand given to the informant by a friend

2. Context

The informant learned of the evil eye gaze and the evil eye talisman from her mother, who is from Morocco. She has received many evil eye talismans from older family members as well. These practices are performed often, especially when you have good fortune or someone compliments you in an envious tone.

3. Analysis

The evil eye talisman is an example of sympathetic magic because the jewelry is made to look like an eye, which represents the evil eye glance. In International Folkloristics, Dundes says “With homeopathic magic, we have ‘like produces like,’ such that one can enact through mimetic imitation the desired event or outcome.” (222) Since the talisman resembles the eye, this form of magic uses the principle of homeopathic magic. The evil eye belief suggests the cultural idea that jealousy is malevolent and causes misfortune. In this culture, being the subject of envy is seen as a bad thing. It also suggests the cultural belief that fortune can be fickle and blessings may be taken away as quickly as they are given.

Palestinian Evil Eye

Informant Details

  • Gender: Male
  • Occupation: Student
  • Nationality: Palestinian-American

Folklore Genre: Folk Beliefs/Superstitions (magic)

  1. Text

The informant explained a common curse in his culture (the evil eye) and the practices done to protect against this curse. The evil eye can be inflicted when someone is jealous of you, when something good happens to you, or when someone compliments you and doesn’t say mashallah. Most often the evil eye is caused by jealousy. To guard against the evil eye, people keep talismans that look like an eye called nazars and hamsa hands. These can be worn as jewelry, hung in the car, and placed in the house in rooms where guests visit. Wearing blue can protect you from the evil eye. Sage is also used to ward against the evil eye. The nazar is typically worn as a necklace or a bracelet with lots of circular beads that resemble eyes. The beads are blue with a black circle in the middle. One superstition about the nazar is that it should be given as a gift because it is bad luck to buy one for yourself. When the nazar breaks, it isn’t effective anymore. It breaks because it has protected you from someone’s jealousy. Once it is broken, you can’t wear it anymore because it holds on to the negative energy. 

2. Context

The informant learned this belief from his older family members from Palestine. In the first grade, his aunt gave him a nazar because he was being bullied by other kids. His aunt is from a town outside of Ramallah in the West Bank of Palestine. Generally, the rituals that ward off the evil eye were done when people expressed jealousy or negativity towards them.

3. Analysis

The nazar is an example of sympathetic magic because the jewelry is made to look like an eye, which represents the evil eye gaze. The nazar uses the principle of homeopathic magic – “like produces like” – because it resembles an eye. The evil eye belief suggests the cultural idea that jealousy is malevolent and causes misfortune. It also suggests the cultural belief that fortune can be fickle and blessings may be taken away as quickly as they are given. In this culture, being the subject of envy is not viewed favorably. The superstition that a nazar must be received as a gift represents the belief that fostering strong interpersonal bonds protects people from misfortune. This suggests a cultural value of community and loyalty.

Hindu Tradition/Superstition

Tags: Hindu, Superstitions, Cleansing

Text

A plain paper towel with water is used to wipe down counters for good luck/fortune, not to actually sanitize.

Informant Info

Race/Ethnicity: Indian

Age: 22

Occupation: College Student

Residence: Northwest Arkansas, USA

Date of Performance: March 2024

Primary Language: English

Other Language(s): N/A

Relationship: Friend

Context

AH, the informant, is of Indian descent. Her father practices Hinduism and speaks Tulu. He has been a very influential figure in her upbringing. She also studies indigenous peoples and their customs as a Sustainability major.

Analysis

The informant’s father often performs this action after any surfaces are used. When asked why, he said that Hindus often do this as a means to beckon in good luck and fortune.

Break a Leg Ritual

Text
“So this is like the traditional ‘break a leg!’ before a performance, because I’m a theater major. But before any type of performance, instead of just saying ‘break a leg,’ the performing group that I grew up in since I was a kid to high school, we always would say ‘break ALL your legs.’ As like a way of saying ‘you’re even gonna do better than just break a leg, like you’re gonna have a phenomenal performance.’ And then we would- I don’t know how to explain this properly, but we basically lock our pinky fingers together, and then like, bump each other’s hips, each hip twice, and then like, spin, like, turn with our arms. And I was like- everyone in the group that I grew up in performing did this, um, and was incredibly superstitious about it. It was a thing of like, even if you were called to places, you would run backstage to the other side of the stage to find the other people in the cast to do it to. Because it was an incredibly, like, you HAVE to do this. Like, if not something’s gonna go wrong. Um, and so I was incredibly superstitious about it. Like if I didn’t get the chance to do it to everyone, I, like, I was not comfortable on stage and I was like ‘something’s gonna go wrong, I’m gonna mess up, just it’s not gonna be the performance I know it can be.’

And now that I’m in college and I’m not part of this performing group anymore, I still carry it on. Um, especially with this one, like, performance group I’m part of. Backstage before every show that I’ve started since freshman year doing, I teach it to like anyone who’s new in the group, and I do it with as many people in the cast as I can do, and I even like, explain the story of it to people, like ‘this is something I used to do in my past performing community that I was a part of, and we’d say break all your legs,’ and I teach it to them and then like, they go on to do it to other people in the cast and explain it to them. So it’s something I’m like carrying on and spreading to other people.”

Context
C is a current student at the University of Southern California and grew up in Palm Desert, California. She gave the context that she had been part of the same local theater group for her preteen and teenage years until coming to college. When asked to elaborate about some of the logistics of the ritual, C explained how the ritual would be done between two people in the cast, with the goal of everyone in the cast eventually doing it with everyone else. She also stressed the importance of performing the ritual as immediately before the beginning of the performance as possible. She also described how different people in her original group believe in different degrees of consequences for not performing the ritual with everyone in the cast; while some people think it is not strictly necessary, many, including C, believe that there will be “severe and immediate consequences” during the performance for not doing it with everyone. Finally, C explained that, while she is not sure when the ritual began, allegedly everyone who her director had worked with had a similar kind of ritual, which leads her to believe it stemmed from him and evolved to what it is today.

Analysis
As C acknowledged, this tradition takes a widely-known example of theater-specific performative speech and adds an additional physical element as added superstitious behavior. I would say that this ritual combines elements of homeopathic and contagious magic. By believing that not performing this ritual correctly induces bad luck, this theater group exhibits the ‘like produces like’ belief behind homeopathic magic; however, the contact required for the ritual, perhaps to ‘share luck’ amongst the cast, suggests that the connection between two cast members lingers after contact, which is characteristic of contagious magic. There also seems to be an added dimension of promoting the group’s strength and unity; by requiring everyone in the cast to perform this bad-luck-warding behavior together, it reinforces the idea that the group is stronger together. Ultimately, I think this ritual is a perfect example of the multiplicity and variation that is often said to be a core component of folklore, and I would be interested to see if/how this ritual changes after its introduction to USC theater spaces.