Tag Archives: summer camp

The Pig Man

Text: “I actually got told this story while I was in the cabin–this was Cabin 2. The story is before it was Cabin 2, the place was a pig pen. Some guy came to the island and he killed one of the pigs, and he like carved out the pig’s head and made a mask-like thing, and like lived on the island and killed people on the low. It sounds pretty fried, but I lived in the cabin probably when I was like 10 years old, and I was told the story in a very scary way and I was sitting in my little bet like ‘dude, fuck, like this is crazy.’ In the moment this stuff is very scary. When you’re at this camp, you don’t really have your phone, so when the counselors tell this stuff that they’ve told a million times, they tell it very well and there’s no other authority to check the story against.”

Context: My informant, NR, told me this story while we sat together and played NHL while listening to house music and eating frozen yogurt. This was a pretty ideal storytelling setting. He first heard this story as a middle-school-aged camper at a sleepaway summer camp in New Hampshire, and was scared by it at the time. He interpreted the legend as the crux of a practical joke that counselors enjoyed playing on campers. 

Analysis: I believe NR’s legend bears elements of practical joking in that it is leveraged by an ingroup, the counselors, to display the ignorance of the outgroup, the campers. The legend’s employment of elements that could potentially exist add credibility to the horror factor and play upon the ignorance of youth to frighten children. NR also emphasized the credibility of the storytellers, emphasizing that he defaulted to believing their account because he lacked a method to investigate other possibilities without his phone. The Pig Man’s employment of the mask also creates a fear factor, as anyone wearing the head of a dead pig would appear frightening, certainly in American culture where people are far removed from the slaughter of animals and death of animals in general. This legend can tell us about summer camp culture, in which authority is valued as well as respect for the surrounding land, which is often unsupervised and can be dangerous for a wandering child. In that spirit, the legend also plays a cautionary role, encouraging campers to stay vigilant in nature–the closer a camper is to being alone in nature, the more the camper will think of the Pig Man and desire a return to safety. I additionally believe that the death aspect of the legend taps into the childhood interest in death as a taboo topic. 

The Outpost

Text: “Alright so basically it was like, so my sleepaway camp was on an island in Lake Winnipesaukee, New Hampshire and it’s like an all-boys camp whatever but basically the camp is all centered around this island and it’s all kinda in this one area and there’s this path you can take through the middle, and at the end of the path is this place called ‘the outpost,’ which is basically a little hut with a bathroom, it’s got a fire pit for camping and stuff–you could spend the night there if you didn’t want to sleep in the cabin, like people did cabin nights there. And so basically only older kids really spent the night at the Outpost, but there were these things called cabin nights where you go with your cabin and basically like post up at like a little beach along the island or play hoops for a while or you could like do random shit honestly-go swimming maybe. You’d camp out with marshmallows and do all that stuff. Basically older kids who could go to the outpost started the story, and essentially it says there’s a murderer in the outpost bathroom. All these kids are out camping, and this kid asks to go to the bathroom and basically gets like stabbed and like blicked. Nobody knows where he is after a while, but the counselor lets another kid use the bathroom–other kid pulls up, gets stabbed, whatever, blicked. At this point the counselor is like ‘yo what the fuck is going on.’ So two kids blicked, blood everywhere. Someone else gets blicked, then they run back to camp super far. One of the guys who works in the office, his dad owned the camp, and he grabbed a gun and killed the guy. It’s really scary when it’s told to you as a kid around a campfire at the outpost.”

Context: My informant, NR, told me this story while we sat together and played NHL (hockey video game) while listening to house music and eating frozen yogurt. This was a pretty ideal storytelling setting. He first heard this story as a middle-school-aged camper at a sleepaway summer camp in New Hampshire, and was scared by it at the time. He emphasized the combination of his youth, the campfire setting, and the storyteller’s authority as elements that enhanced the fear factor of the legend. As explained in the text, the camp was all-boys and the legend revolved around a remote location on the property known as the outpost, at which cabins (groups of campers) would sometimes spend the night outdoors. The legend is traditional at the camp. In hindsight, NR interprets the story as a classic scare-legend, told to encourage adherence to the ‘buddy system’ and to scare younger children. 

Analysis: In my interpretation, the legend of the Outpost offers insights into summer camp and childrens’ culture, particularly through the classic campfire-horror trope. A few dynamics at play make the legend material to the young NR. For one, his youth relative to the storytellers enhances their credibility and thus the plausibility of the legend. In the days of early adolescence, age plays a major role in credibility–this legend is most popular/effective with young children, reflecting this truth. Also, NR’s unfamiliarity with the area adds to the legend’s effect. While he was a regular camper, the Outpost region was still not completely familiar to NR, which can create gaps in understanding that are prone to being filled in with horror legends such as this. In this case, his fear of the unknown, already exacerbated by the campfire setting, became manifested by the legend of a murderer who lived in the Outpost, reflecting a classic youth’s outlook on reality. On the flip side, I view this legend as a practical joke played by counselors on campers and as a cautionary tale leveraged to ensure safety. However, contrasting with many uses of practical jokes, I do not view this necessarily as a rite of passage or an initiation ritual–I believe it is more just a tradition that the camp can collectively identify with. Due to the temporary nature of the camp experience, there is no investment in seeing the children on the other side of understanding the reality of the story. 

Girl Scout Camp ghost story

Text:

“So this is a ghost story that I heard when I was probably ten years old at girl scout summer camp. Basically, there was a little girl who went to the girl scout summer camp, and one night while she was sleeping, she heard a loud bang outside and it woke her up. Then she heard it again, and when nobody else woke up she took her flashlight and went outside to see what the noise was. Now, what she didn’t know was that there was an ax murder who had escaped from jail and had wandered into the same woods the camp was located. While she was wandering around outside, he found her and cut her up and threw her body parts in the lake. Ever since, she’s been stuck here and will try to lure girls out of their cabins at night so the ax murderer can cut them up too. I know it’s kind of dumb, but imagine hearing this when you’re like ten and staying in supposedly the exact cabin the dead girl stayed in. It scared me so bad I refused to go anywhere alone the rest of the week.”

Context:

E is a nineteen year old from Southern California. She, as mentioned above, heard this ghost story while at a weeklong summer camp designed for girl scouts. It was told to her while her bunkmates were telling ghosts stories before going to bed. She retold the story to me over the phone.

Analysis:

This ghost story was specifically generated to scare the audience. It is also important to note that the audience is essential in this narrative. It is a story about a girl scout told to other girl scouts. It would not hold nearly the same impact if it was told in a different location or to a different group of people, especially considering the role those elements play in the story. It is also important to note that no one claims to have seen the ghost, but just that she exists. She is also designed to be the same age and type of girl (a girl scout) as the audience. The performance of the story was strong enough to convince these girl scouts that the ghost was real. This piece of folklore is very contingent on the culture it was created in and is not as impactful outside of that culture. The narrative is also designed specifically to scare the teller’s peers, so it has a hoax-like element to it, told to scare than as a fact or honest belief in ghosts.

Little Sally Walker

  1. Text
    Little Sally Walker is an interactive song/game that involves a group of people.  Everyone arranges into a circle with at least one person in the center.  The person (or people, depending how large your group is) in the center starts walking/skipping around the circle while everyone sings: “Little Sally Walker, walking down the street.  She didn’t know what to do so she stopped in front of me, she said, hey girl, do your thing, do your thing, do your thing.  Hey girl, do your thing, do your thing, do your thing, now switch!”  When the song reaches “stopped in front of me,” the person in the middle will stop in front of any member of the circle and face them.  This center person will then do a dance move, and the person on the edge will mirror this move, all while the group continues to sing, “hey girl, do your thing, do your thing, do your thing.  Hey girl, do your thing, do your thing, do your thing, now switch!”  The person from the circle now switches positions with the person in the middle, and becomes the new “Little Sally Walker” and the cycle continues.
  2. Context
    This song/activity was a tradition at my childhood summer camp that I encountered in my first summer there in 2008, and repeated every year until my most recent summer (now working as a counselor) in 2022.  Little Sally Walker always occurred on the first day of camp, once all the campers had arrived and it was the first official “icebreaker” of the 2-week overnight session.  
  3. Interpretation
    While I’m sure this jingle has deeper historical origins than I’m aware of, it seems to express values around interaction and engagement with others.  As it requires nothing more than a group of people, it is able to be done anywhere.  In the context of my camp, it was also a successful way of passing time or distracting campers until an event or activity starts.  

Campfire song: ‘A Boy took a Girl in a Little Canoe’

Text:

NP: “We sang this song at campfires once a week. It was a traditional thing that they would do every week since the camp started in 1924. And the whole thing is that we would sing the same songs every year that the girls had always sang.”

The song:

Well, a boy took a girl in a little canoe with the moon shining all around

And as he applied his paddle

You couldn’t even hear a sound

So, they talked, and they talked till the moon grew dim

He said you better kiss me or get out and swim

So, whatcha gonna do in a little canoe with the moon shining all around?

Well, a boy took a girl in a little canoe with the moon shining all around

And as he applied his paddle

You couldn’t even hear a sound

So they talked, and they talked till the moon grew dim

He said you better kiss me or get out and swim

So, whatcha gonna do in a little canoe with the moon shining all a—

Boys paddling all a—

Girls swimming all around?

Get out and swim!

Context:

The informant is my sister. She is a 22-year-old college student from New York City who attended a girls’ summer camp in Kent, Connecticut from ages 12 to 15. Though she thinks this song sends an archaic message, promoting gender stereotypes and heteronormativity, she remembers singing the song fondly. NP remembers feeling a sense of safety during these weekly congregations at the campfire, which fostered a sense of connection between her and the other girls.

Analysis:

I think that this song sends a simplistically feminist message. While one could interpret it as empowering or as an espousal of female courage and independence, since the girl in the story refuses to kiss the boy despite the unpleasant and possibly dangerous action she must take to avoid doing so, it also conveys sexist, heteronormative ideals. The song promotes gender stereotypes and, whether intentionally or not, problematic ideas about the value of female chastity. 

         Still, the song feeds into the atmosphere conjured by the campfire tradition, which can be seen as a celebration of girlhood and female community. I think that this environment is intended to make girls feel supported, empowered, and safe. With this weekly tradition, girls are free from the pressures of the male gaze and experience a sense of connection with the other campers as their voices blend. Moreover, the fact that these songs and the tradition of congregating at the campfire have such a long history connects current campers with previous generations of girls who attended the camp.